Taiwan Today

Chinese paintings, in spite of their great variety in interests, styles, and moods, are generally found to fall into three main divisions: Landscape, Portrait, and Study of Nature (e.g. flowers and birds). I. Landscape Landscape as a special genre for the Chinese painters can be traced back to the "Six Dynasties" (3rd to 6th centuries). Traditionally, the landscapists are divided into the Southern and the Northern Schools, both of which had their origin in the T'ang Dynasty (618-907), the period when not only landscape painting but the Chinese civilization as a whole reach a very high stage of development. The Southern School is characterized by soft modulation, a touch of airiness even in the apparent solid forms, and a meditative harmony or "rhythm" that pervades the picture. The key to its technical skill is the control of brush­ strokes that gives "life" to the slightest line and charges a mountain ridge, a tree, or a cloud with "poetic" meaning. The Northern School pays not so much attention to the supple power of the brush, as to the general effects of chiaroscuro. By a careful arrangement of ink or color, the Northern School succeeds in giving the impression of force and vigor: it boldly strikes where the Southern School gently suggests. Hardiness is preferred to delicacy, and strength is set above gracefulness. The Southern School is believed to have originated with the poet-artist Wang Wei of the T'ang Dynasty. It has had a most glorious history throughout the succeeding ages. The artists of the Northern School with their predilection for naturalistic truthfulness, will often include human figures as well as architecture in their landscapes. Their style may be either exquisitely fine, showing a meticulous cue for details, or harshly primitive, with a sweeping force that turns out some wonderful panoramas. A long list of names can be cited to illustrate these two different styles. But between the Southern and Northern Schools, there is no unbridgeable chasm. In­ stances of eclecticism are too many to be ignored. So for a better enjoyment of Chinese landscape, the connoisseur is advised not to be over-fastidious about the schools or isms, but to judge the picture per se. II. Portrait Chinese portraits can be dated as early as the Han Dynasty (B. C. 206-A. D. 220), but the earliest extant works that are believed to be authentic are done by the T'ang artists. Among the portraitists, some stick to true-to-life realism, while others, ignoring the details, strive to grasp the elusive spirit of the subject. But whether their style be sophisticated or naive, there is no question about the consummate artistry of their achievement, III. Study of Nature The artists proficient in this kind of painting have a common aid in view, that is vividness. Some of them will display the most brilliant colors and attempt an effect that is as decorative as it is representative. And there are the sketch-drawers, the grudging users of color the economisers of ink, who nevertheless often accomplish a great deal in their simple design. At any rate both types are inimical to cheap imitation, and their achievement will always remain the pride of Chinese art. The Chinese artist, like his brethren all die world over, may of course, try his hand at any conceivable subject. A landscapist is often found to excel in the portrayal of human figures; some of the daintiest drawings of flowers and birds are produced by acknowledged experts in portrait; and there are again masters who cultivate successfully all the three fields discussed above and who, therefore, defy classification. But versatility enhances rather than diminishes the individual style of the artist. If it is true that art is the mirror of the artist's mind, then it is more so with the Chinese painters. Art and the artist's way of life are almost inseparable here. To produce a masterpiece of art, one must first study and acquire the personality, the outlook, the temperament, and the inspiration that make the artist. The Chinese art critic believes that when a picture is unrolled before him, there is revealed also the artist's soul. And traditionally he seems to care more for the human element than the technical skill in a picture. In China, painting is so closely related to calligraphy in principle as well as in technique, that without a good foundation in calligraphy, one cannot hope to make any real achievement in painting. And calligraphy is the most "personal" art, a form signally expressive of the artist's personality or even idiosyncrasies. With such an affinity, it is not strange that Chinese painting partakes also of a strong personal character Brushes are used in both painting and calligraphy. Now the Chinese brush, of various makes and sizes, (a painter may be armed with thirty or forty different kinds of brushes), is the most difficult tool to wield. It is its masterful use after long training and practice, that gives the Chinese painting its special interest and style. Once a stroke is made, it will stand as it is: alteration or revision would be out of the question. So the Chinese painter will not set down a stroke unless he is completely assured of its beauty and effect. There are no strict rules for chiaroscuro, or the arrangement of light and shade. But the light and dark elements in a Chinese painting always make a pattern governed by the structural requirements of the picture itself. What is essential for a picture, as regards its lines, figures, color or any other ingredients is that they should be so rendered as to create, for what is static and two-dimensional, the illusion of having a life of its own. The treatment of the ink-slab, the density of the ink, the preparation and mixing of the pigments, the force that is applied to the brush, all these contribute greatly to the success of a picture. So much depends on the moment when brush, color (or ink) and paper (or woven silk) are brought into contact in an artist's hand. So the artist must make all necessary preparations before he starts on a new picture. No doubt the best materials should be secure. Sometimes the paper needs to be wetted before using and the woven silk processed in the alum solution. Certain pigments require certain kinds of liquid as solvent and there is a richness of brushes to choose from. A good artist, how­ever inspirational he may be, will never neglect the perfection of his tools. Paintings have been made not only on the orthodox paper and woven silk, but also on vessels, utensils, and walls. Now and then there will be a whimsical artist who achieves unusual effects by using his own tongue, or the fingers of his hand, or a clothes-brush instead of the painter's brush as his instrument. Etching, paper-cutting, wood-cutting, etc.; though all very popular in China, and more or less related to the pictorial art, belong rather to other categories than the painting and so require separate studies. What should be emphasized in conclusion is that Chinese painting has always preserved its proud tradition and retained its purity and true genius all through the centuries. Foreign influences, of course, have been many, the most notable being the spread of Buddhism, the traders, diplomats, and missionaries from the West, and the import of foreign-made handicraft and industrial products. These have brought along with them new inspiration for the Chinese artists. Sometimes quite an impact would be created upon the imagination of the Chinese artists when curios from abroad were first introduced into China. But the creative genius of the Chinese race has so far assimilated all the extraneous influences and the result has been an art, ever growing, ever enlarging in its scope and contents, but meanwhile losing nothing of its native characteristics, so that the Chinese painting will stand as something uniquely admirable in the world.