SCHOLARSHIP, LITERATURE, AND THE ARTS 311
Jurchen print has been preserved, but there are quite a few extant specimens
of Chinese books printed under the Chin. These show that the craftsmanship
of carvers and printers retained the high standard it had reached under the
Northern Sung. Indeed, some Chin prints can stand comparison with the
finest books printed in Southern Sung times.
66
The same cannot be said for painting and calligraphy,
67
although a defini-
tive appraisal of the pictorial arts under the Chin is still lacking. Art histori-
ans in China, Japan, and the West have always been attracted by the indubita-
ble excellence and variety of styles that mark the Southern Sung. But this
attraction is in itself evidence that northern China in the twelfth and early
thirteenth centuries did not have much to offer that could be compared with
Southern Sung art. A fourteenth-century work on painting lists forty-seven
painters of the Chin period, but none of them figures prominently in the
current histories of Chinese painting. Moreover, this work seems to have
been based on written records rather than on actual inspection of the paint-
ings.
68
The father of Emperor Chang-tsung and the Hai-ling emperor are
said to have painted. Another imperial clan member among the painters was
Wan-yen T'ao
69
(1172-1232), who was also a distinguished poet and a friend
of literati like Yuan Hao-wen. A few more Jurchen painters are listed and
also two Khitans, one of them Yeh-lii Lii (n31-91), the father of Yeh-lii
Ch'u-ts'ai. But the great majority of painters were Chinese, as could be
expected.
Emperor Chang-tsung was a great patron of the arts. He took a lively
interest in the former Sung imperial collections that had been captured in
1127.
Many surviving T'ang and Northern Sung paintings still today bear
the seals of Chang-tsung, for example, the well-known scroll "Admonitions
to the imperial ladies" preserved in the British Museum. Chang-tsung also
appointed as director of his collections a well-known artistic and literary
figure of his time, the painter-poet Wang T'ing-yiin (1151-1202).?° The
emperor himself was an active calligrapher who tried to emulate the Sung
emperor Hui-tsung as both an artist and a patron of the arts, and he even
imitated Hui-tsung's style of handwriting, as is shown by the extant colo-
phons written by him. While waiting for a definitive appraisal of Chin
painting, we suggest that the styles imitated under the Chin were those of
66 K. T. Wu (Wu Kuang-ch'ing), "Chinese printing under four alien dynasties," Harvard Journal of
Asiatic
Studies,
13 (1950), pp. 453-9.
67 For a basic survey of Chin painting and calligraphy, see Susan H. Bush, "Literati culture under the
Chin (1122-1234)," Oriental Art, n.s., 15 (1969), pp. 103—12.
68 Hsia Wen-yen, T'u huipao Men (KHCPTS ed.), 4, pp. 93-96, 129.
69 Susan Bush reads the personal name of Wan-yen T'ao as Shou; see her "Literati culture," p. 112, n. 5.
70 On Chang-tsung as a collector and calligrapher, see Bush, "Literati culture," pp. 103—4; and Toyama,
Kincho
shi kenkyu, pp. 660—75.
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