T‘ao Yüan-ming;―after which I contemplated retirement from public life. And I thought how much I should like to bring back with me portraits of the various great and good, but unknown, men I might be fortunate enough to meet with on the way. But Kuo's parents were old, and he could not venture upon such a long journey, for which I felt very sorry. So at parting, I gave him this document.[1]
TAOISM AND BUDDHISM.
Taoism was at first confined to purity of life and to inaction. These were associated with long life and immortality, which by-and-by became the sole objects of the cult. Nowadays, they have thought it advisable to adopt a system of magical incantations, and chiefly occupy themselves with exorcism and prayers for blessings. Thus, two radical changes have been made. The Taoists have the writings of Lao Tzŭ and Chuang Tzŭ. They neglected these, and the Buddhists stole them for their own purposes; whereupon the Taoists went off and imitated the sûtras of Buddhism. This is just as if the scions of some wealthy house should be robbed of all their valuables, and then go off and gather up the
- ↑ The following most interesting note was written for me by my valued friend, Mr. J. B. Coughtrie, an artist well-known in Hongkong circles:―
NOTE.
The art of portraiture does not reach a very high standard in China, and its professors meet with limited patronage. The backward condition in which this branch of art remains is probably owing to the fact that the style and taste peculiar to the Chinese combine to render a lifelike resemblance impossible, and the completed picture unattractive. The artist lays upon his paper a flat wash of colour to match the complexion of his sitter, and upon this draws a mere map of the features, making no attempt to obtain roundness or relief by depicting light and shadows, and never by any chance conveying the slightest suggestion of animation or expression. The degree of merit accorded to the production at this stage depends upon the ease and rapidity with which it is seemingly done, a timid highly-wrought face taking rank beneath a facile sketchy production, which latter in many cases is but the affectation of those qualities obtained slowly and with labour. On the drapery the utmost care is bestowed, and the sitter is invariably represented in the finest raiment he is entitled to wear, and equally invariably with fan in one hand and snuff-bottle in the other.
There is a wide-spread belief that the Chinese object to have their portraits taken for superstitious reason; and it is true that artists who have visited the country have always failed to induce picturesque coolies, peasants, and even beggars, to allow themselves to be sketched. The writer, however, has been informed that no such superstition really exists, but merely a proud objection on the part of the native to be depicted in his rags or every-day clothing.
