LI CHIH.
11th and 12th centuries a.d.
[A painter and art-critic who in early life attracted the attention and patronage of Su Tung-P‘o, who declared that his style was “like heaving waves, like flying sand, like rolling rocks.” Author of the Hua p‘in, a professedly critical work.]
ON PICTURES.
THE colour of old pictures is black, resulting from deposits of dirt over the original thin wash of ink. Sometimes the picture is pleasantly impregnated with some ancient perfume. Faked pictures are mostly made up yellow, but this colour is easily distinguishable from the dark hue caused by dirt.
No more than three or four pictures by eminent artists should ever be hung in one room. After these have been enjoyed for four or five days, others should be substituted. All pictures should occasionally be brought into the open air, and on no account be exposed to smoke or damp. If they are exhibited in turn, they will not collect the dust and dirt, and what is more, you will not get tired of looking at them. Great care must be exercised in unrolling and rolling them up; and when they are brought out, they should be lightly flicked over the surface with a horse-tail or a silk flapper; coir brushes must on no account be used.
If the personages in a picture, when you look at them, seem to speak; if flowers and fruit are swayed by the wind and sparkle with dew; if birds and beasts seem as if they were alive; if hills and streams and forests and fountains are limpid, reposeful, dark, and distant; if buildings have depth; if bridges have movement to and fro; if the base of a hill can be seen below the surface of the clear water at its foot; and if the sources of the water are made obvious and distinct; then,―though his name may not be known, the man who paints such pictures is a great artist.
But if the personages resemble corpses or clay images; if the flowers and fruit look artificial; if the birds and beasts are
