KUO JO-HSÜ.
12th century a.d.
[From the T‘u hua wên chien chih “Record of Observations on Drawing and Painting.” Its author was an art critic and painter, said by Têng Ch‘un to be the only artist of his acquaintance who could express the soul, as well as the form, of his subject, human or otherwise.]
KOREAN ART.
WHEN the Sung dynasty was at the height of its glory, the roads were thronged with men of foreign nations coming to Court. Of all these the most cultured and refined were the Koreans, who were gradually yielding to the influences of the Flowery Land. In matters of manual skill there was no other people to be compared with them, and they were remarkably proficient in painting. At one house I saw a coloured landscape in four rolls; and at another, two rolls containing pictures of the eight ancient worthies of Korea; while elsewhere I saw a picture on fine calico of the Heavenly Kings, all being works of considerable excellence. In 1074 a Korean envoy arrived, bringing tribute, and also bent upon obtaining specimens of Chinese calligraphy and painting. He bought up a good many of these, with not more than ten to twenty per cent. of inferior works, and paid in some cases as much as 300 ounces of silver. In the winter of 1076 another envoy was sent with tribute; and being about to take back with him several painters, he begged leave to be allowed to copy the frescos in the Hsiang-kuo Temple. This he was permitted to do, and carried away with him copies of all the frescos, the men he employed being fairly skilled in the art. When these envoys came to China they used at their private audiences folding fans made of duck[’s egg] blue paper, on which were painted pictures of their national heroes, men, women, horses, landscape, lotus-flowers, tree-birds and water-fowl, all very cleverly done. Patches of silver were also used for clouds and the moon, with very charming effect. They called the fans their Dwarf fans, because the fans came originally from the Dwarf Nation (Japan).
