House & Garden 
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<SsfaAlished 1828 
A bird and flower painting by an un¬ 
known artist of the Sung-Yuan Dy¬ 
nasty. This and the other illustrations 
from the Metropolitan Museum of Art 
The Bird-^;?r/-Flower Paintings of China 
(Continued from page 66) 
the chrysanthemum became special 
studies each of which had its own mas¬ 
ters, both from the standpoint of paint¬ 
ing itself, and of the application of the 
aesthetic rules which govern this art. 
The bamboo and the plum tree are also 
allied to this class. Under the influence 
of philosophic and symbolic ideas they 
furnished a special category of subjects 
to the imagination of the painter.” 
With the Chinese artist memory 
played a highly important part, 
reaching, indeed, a phenomenal develop¬ 
ment. In the case of Chou Shun, a 
great Chinese painter of the Sung Dy¬ 
nasty (A. D. 960-1280), the Chinese art¬ 
ist more often than not dispensed with 
what an artist of the Western world 
would consider necessary in the evolu¬ 
tion of a masterpiece, the preliminary 
sketches. An ancient Chinese painter 
once said ‘‘The painter should sketch 
with his brain.” 
Perhaps we may best approach the 
subject of Chinese painting by some 
consideration of Chinese calligraphy 
which gave it birth, since, in the minds 
of the early Chinese painters, the two 
were inseparable. 
The Chinese legend of the origin of 
writing is that in times remote a 
thoughtful person named Ts’ang Chieh 
took great delight in studying the natu¬ 
ral forms of things. There was nothing 
under the heavens which came under his 
observation that he neglected to give 
thoughtful attention to. The flowers 
of the hedgerow and the birds of the 
forest were alike dear to him. One day, 
as he strolled along the white sandy 
shore of a little lake, the footprints of 
a water bird arrested his attention. 
Suddenly an idea came to him that 
speech could be recorded by represen¬ 
tative symbols for words, such a mark 
as the footprint he had just observed to 
stand as a symbol for water bird, etc , 
and thus, according to Chinese legend, 
the art of writing was conceived. 
As time went on Ts'ang Chieh’s in¬ 
vention underwent improvements, while 
the invention of paper, credited to 
Ts’ai Lun, gave Ts’ang Chieh’s fol¬ 
lowers a material on which their hand¬ 
writing could exercise its development 
freely in attaining ultimate perfection. 
Now painting has always been regard¬ 
ed by the Chinese as a branch of calli- 
(Continued on page 132) 
V- 
.... 
Painting by the Emperor 
Hin Tsung, 1282 — 1135, 
founder of the Academy of 
Calligraphy and Painting 
Nam Pin Chin-sen was the 
painter of this panel. 
1745 A. D. 
