The undying spirit of oriental axt comes again to public notice a Interest, through the chapters Rew presentation from the Inspired pen of Member-of the-Clan, Indeed, sometimes signs himself, "The Shient Priest," Mr, S. 1. Hsiung marks in his preface. Although a graduate' in Chemistry from the University of Nanking, he has been algo active in the government of various Yangtze Valley districts, now Teeturer in the School of Orientat Studies, lent his work to the "Men of Trees" Exhibition last winter and the New Burlington Galleries Exhibition of Modern Chinese Painting this spring 'Mr, Hsiung, it will be remembered, responsible for the Twentieth-Century version of "Lady Precious Stream'
English, He mentions also Mr. Chiang's recently published poems on English scenery and his habit of withdrawal Into silence (hence his pen-name) before producing some exquisite piece of work, either poetry or painting. "Atler a recent period fof quietness he has produced this Interesting book," from the viewpoint of q Chinese artist, treating history, philosophy and principles of painting deftly that one cannot help being instructed and entertained,—not a big book and, thank Heaven, not an acy ademte book."
Mr, Chiang acknowledges _gener~ ously the help of Miss Innes Jackson {in rendering a lucid English style, and drawing his attention to parallels In European thought. In his own Me troduction he mentions the dim culty of appreciation, among the Chinese people, on foreign works of art when frst they, began. Altering into. this country from. abroad. He felt it necessary to learn of conditions of life of foreign scenes at first hand; and In return his book seems to be interpretation of Chinese painting to the West, His points of contact are skilfully made. He quotes from Shakespeare, from Wordsworth and even from' Spenser, to substantiate comparisons. "He gives a clear ditferentiation between the painter-artisan for craftsman, who sells his work, sub-mating his ideas; and the true artist who, In possession of an absolute id unmoved by circumstances' or the fashions of the times, feeds his work from a living stream of independent thought. No outside force can prevail upon him to alter a style based upon Inner conviction.
Twenty-four carefully chosen. illustrations represent the best of Chinese painting and are individually and adequately discussed In the course of the book. These alone make it well worth possessing, beyond the exccollence of its Mr, Chiang writes from a of angles, Ina His chapters amplify each building logically the philosophy and iMterature of painting upon a folld foundation of historical background. Here he only sketches briefly, but uses a fine discrimination and true sense of balance. Rather than follow= Ing the ordinary courge of Western writings, one senses a freshness of viewpoint that 1s often delightful The historical sketch Is brought to date with the mention of four promin. ent names connected with schools adopting Western methods of educa tion, "makeing instruction in art. both universal and scienti, 'Technically chapter VII on the Essentials of Painting Is probably the most informative, Following the pre copts laid down' in Hsieh Ho's Six Canons, Mr. Chiang gives a masterly Fendering of the "landmarks"
Action of Line, (2) Independence" of Natural that whens "devel Pan "We do not like to" pain lasting: man, Whose "movements are atten ne more slanied than those dancing. bear' and. who rishew Sundiy eve ana there pick the Aust the. world his feet, seems, lets worth to.
6 living Fock when endures he ets sri" rises. in. white. purity. {rom aps, the crows who fy ith:
ly back to their nests at sks 'G) "Simpieation of Form iaQdd Praageration, to! express (G)_Rhythmle vitally (Eh Yung Shen-ting spirit harmony). that {ialiy "considered by all velters on Chinese painting of paramount import: seize the paste of more cent of the Life Force, And so he docs hot. point at all times, nor can he be compelted fo paint, hor con he be {ted at the Bar for neglecting the obvious truth of appearances mie Vitality" "ie the Ju appearances....,.. "Life™ Is) the comitant of "iihyinmle Vitaliy"
picture Tacks this clement, Betas dawe an Imitation of visible And with this chapter ends the fine climax of steadily mounting thought.
But characteristically perhaps, at the end of the book are two further chapters on the Instruments and the Species of Painting. Again historically, we are introduced to the Four Treasures of the Room of Literature, Brush, Ink, Stone and Paper, presented with meticulous care, a surprising amount of information of real value.
Finally he say them, what need of elaborate. paras DPherfalla? If one has them not. one frill never be am artist even with all the. canvasses" "and colours "in the world.
Among species of painting, stone-carving, frescoes, lacquer-work (or varnish-painting), Banner-painting, screens, embroideries, or tapestries (Ko Sen), porcelains (a short paragraph), natural-stone pictures and fire-painting of iron-pictures are con~ sidered with conscientious car¢
But these two last chapters ure more in the nature of g bibliography, oF a collection of encyclopaedia Information, valuable and excellent in way. The real high light of the book Is reached in the few paragraphs concerned with the Chi Yuin or Resonance of the Spirit. Chinese art possibly Ukened to a tree with expansive branches: roots bestride the mountains and. twist "into all" imaginable shapes. Withat itis an ancient teco, and in Spite of the storms which have bat~ fence on it, for centuries, Its fruit has almost the same taste' upon the tips.
Text read from the printed page and cleaned; old type leaves the occasional error.