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Buddhist banners and scrolls on silk: from the 9th c.
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The cave discovered in 1899 at Dunhuang contains many Buddhist paintings on silk. The larger ones (mostly showing Buddha seated in paradise with attendant figures) are designed for hanging out on poles on special occasions. Some are almost two yards in height and more than a yard wide.
Narrower vertical images of dramatically painted figures from Buddhist mythology are intended as banners, to be carried in procession with silk streamers attached. Painting on silk remains a central theme of Chinese art. But this flamboyant public use of images, characteristic of Buddhism, subsequently gives way to the more discreet and private art of the Confucians.
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Chinese arts: in the Song dynasty
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In the heyday of classical Chinese culture, a civilized gentleman - meaning a Confucian official - should be adept in three different artistic fields. When he settles down before a fresh sheet of paper and dips his brush in the ink (ground from a block of pigment by a servant), no one can be certain whether he is about to pen an impromptu poem, paint a quick impression of a romantic landscape or fashion some traditional phrase in exquisite Chinese characters.
The three skills, all expressed in the beauty of brush strokes, are closely linked. A 'soundless poem' is a conventional Chinese term for a picture. And a typical poem by the Song master Ou-yang Hsiu Sounds like a painting.
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Poetry and painting in Song China (960-1279) are largely social activities, both in the creation and in the appreciation of the work. On a convivial occasion, with wine flowing, Confucians will compete with each other in writing or painting. In more sober vein, among connoisseurs, a collector will bring the scrolls from their boxes and will unroll them to be admired and discussed.
China's past is also now a theme for conoisseurs, in a fashion pioneered by Ou-yang Hsiu (and echoed centuries later in Italy during the Renaissance). Ou-yang Hsiu clambers 'on precarious cliffs and inaccessible gorges, in wild forests and abandoned tombs' to make rubbings which he publishes, in about 1000 portfolios, as his Collection of Ancient Inscriptions'.
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Inevitably much of the painting done by enthusiastic amateurs is dull and conventional. This is particularly true during the reign of the emperor Hui Tsung. Himself a talented painter, of a carefully exact kind, he sets up an official academy of painting.
Those who want to get on at court are unlikely to disagree with the emperor on matters of artistic style. Others, opting out of the system, come under the influence of Chan or Zen Buddhism with its emphasis on freedom of expression. The Chan painters of the Song dynasty, using a few quick brushstrokes to capture a fleeting visual moment, provide one of the most brilliant interludes in the story of Chinese art.
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Page 6 of 13 |
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