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By Laurence Binyon

An advent to the heritage of Pictorial paintings in Asia, specially China and Japan.

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Pelliot's " Touen-houang," Paris, 1920. And so we come to China itself. Though some writers have presumed that Buddhism in this long journey northward and eastward created art as it went, and found in China but rudimentary beginnings which its inspiration at once transformed, it seems certain, on the contrary, that Chinese art was fully developed before Buddhism brought its new Indeed, the importstore of motive and imagery. fifth ance of Buddhism as a creative factor in the art of China can be easily exaggerated.

20 THE ART OF EAST AND WEST one thing we can learn from the study of Oriental painting. We can learn to distrust this tendency, absorbed from an age of triumphant Here is up an science, to set external objective standard, asking of a picture whether it correctly represents what been used, and whether it is a real experience to our souls. Our art, like our civilisation, too often defeats its own end in the objects it portrays, instead of asking to service the materials have ; the thirst for reality it falls into indiscriminate acceptance, and loses or obscures essentials.

There are several splendid T'ang art of China, hitherto and a the most fragmentary way specimens of the known only in number of the art, After Sir Aurel Stein, same rock-temple of Tunhuang and brought away the manuscripts and paintings left by his predecessor, and these are now in Paris. Besides the mass of paintings on silk which Pelliot visited the been removed, there are frescoes in the rock-temples which can be dated as early as the have 36 ART TRADITIONS IN ASIA and sixth centuries. These are reproduced in M.

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