In the Chinese development of humanity we find the same outline of art and religion, science, philosophy, history, aud poetry as in the growth of Western nations. As science begins with the daily observation of uatuce, and history mith the daily writing down of passing events, so art grows up from the working of the religious and wsthetic tendent cies of the human soul, leading to the admiration of the hois, the sublime, the lovely us they are embodied forms of art successively prevailing. The same connection between culture and religion may be observed in China as in Europe. The artist in all parts of the world has been always very much fluence of religious ident. Ho works in thespiritofhis age, and adds sources of disown. its prescribed for him by contensporary tastes and ideas. From this restrictive influence no artist desires to escape, or ever succeeds in escaping. Dante in his immortal poem drow a picture of the medieval religion and thought of his time. Ho vividly portrayed, as only a grent artist could, what was then taught in churches and colleges, and his success was due to his special genius for realistic descrip. ion, for comprehensive grouping and aolection. To him religion was supreme among objects of thought. So it was with Michelangelo and Raffuelle not very long afterwards, Ihe moste pieces of these muster artists wore re~ ious. How far, then, is it true that Chinese art in its grotesque peoulinrities, in its suocessen, and in the unrrowness of its field, has been influenced by the religious ideas prevalent among the people in different riges The oldest art we know in China is found in the ancient vases and belle, There was picture-writing before this, art was growing up while the characters used in the pri writing were in process of invention: Bat this may be passed by. The ancient vases were chiefly those used in sacrificing. They were vessels intended to contain food originally, but afterwards applied to r is uses for the simple ranson that the offerings constituted a feast to which the spirits were invited. The fruits of the earth and the flesh of animals being the offerings, the vessels in which they were placed would be vases, tripods, and the like, Symmetry, beautiful curves, and ornamental carving are fouud in the vases, because respectful reverence should characterize the worshipper in his behaviour, attire, and in the work Po-ku-t'a tell us that the Shang was the most religions of the ently dynasties, and that the objects found represented on the snorificinl vases of thnt period are therefore more complete in detail than in other cases. They also cite a passage of the 'I'so Chuan which speaks of the tributary metals sent from the provinces to the Hain emperors, sud the tripods oust from them, as having upon them curved representations of the loon! productions of exch province. In this way, the history explain, would the people become familiar with all objects, and could enter the woods and marshes without fear of meeting evil spirits and demons of various kinds, Whether this was really the object of the ancient artists may, however, be doubled. Most of the old vases and tripods are elaborately 0 amented, and the designs show much variety, Several animal shapes are represented, Among those that uro to be regarded as Incky are the unicorn, phoenix, dragon, and tortoise. But unlucky animals are also represented; we must suppose, under a control which prevents ihe exercise of their bad qualities, The designs seen on these ancient vessels show beside clouds, thonder, water, and mountains, some conventional patterns which muy be native or foreign, as fulure comparison by archwologists may prove them to be. New slinpes and ornaments have now taken their bloes, but thes old vases still constitute the basis on which the structure of modern Chinese art. ug seen in vases lias been reared, Immedintely after the days of Confucius an ago of mythological invention corns menced, Sculptors and printers om mented the palaces of the feudal princes nnd the emperors with scenes dosoriptive of the gods in their aerial plaovs of abode, og then conceived by postic writers, In the remniving sonlptares of the Inter Han dynasty, in addition to many histoticnl groups, gods and de" mons are profusely represented, In one scene, the Enstern King and Wet. ern Queen, divinities than much wore shipped, appear as two divine figures sented on clouds. An attendant offers the Queen a branch on which are three pearls, The branch comes from a tree on which pearls grow in place of leaves, This cloud picture is closely crowded with winged gods, Inrge and small, winged horses, and winged chariots, In another picture an unnamed god sits on a cloud and is drawn by three hi nessed dragons, weird creatures with sonly bodies, modelled chiefly on the horse in their lege, necks and beads, but asserting their independence of that animal by the possession of wings and claws. In another very curious scene there is a battle of the fishes, Gods ride the fishes, and swim to the fight with sword and shield. A ture tle wields a spear with his front feet. Frogs and seals follow this bold example, and order that various species of fish may do the same thing
Text read from the printed page and cleaned; old type leaves the occasional error.