Part 40

3. _Architecture_.--In architecture the Chinese genius has found but limited and uncongenial expression. A nation of painters has built picturesquely, but this picturesqueness has fought against the attainment of the finest architectural qualities. There has been little development; the arch, for instance, though known to the Chinese from very early times, has been scarcely used as a principle of design, and the cupola has been undiscovered or ignored; and though foreign architectural ideas were introduced under the influence of the Buddhist and Mahommedan religions, these were more or less assimilated and subdued to the dominant Chinese design. Ruins scarcely exist and no building earlier than the 11th century A.D. is known; but we know from records that the forms of architecture still prevalent imitate in essentials those of the 4th and 5th centuries B.C. and doubtless represent an immemorial tradition.

The grand characteristic of Chinese architecture is the pre-eminent importance of the roof. The _t'ing_ is the commonest model of building. The roof is the main feature; in fact the _t'ing_ consists of this roof, massive and immense, with recurved edges, and the numerous short columns on which the roof rests. The columns are of wood, the straight stems of the _nanmu_ being specially used for this purpose. The walls are not supports, but merely fill in, with stone or brickwork, the spaces between the columns. The scheme of construction is thus curiously like that of the modern American steel-framed building, though the external form may be derived from the tent of primitive nomads. The roof, being the preponderant feature, is that on which the art of the architect has been concentrated. A double or a triple roof may be devised; the ridges and eaves may be decorated with dragons and other fantastic animals, and the eaves underlaid with carved and lacquered woodwork; the roof itself is often covered with glazed tiles of brilliant hue. In spite of efforts, sometimes desperate, to give variety and individual character by ornament and detail, the general impression is one of poverty of design. "Chinese buildings are usually one-storeyed and are developed horizontally as they are increased in size or number. The principle which determines the plan of projection is that of symmetry" (Bushell). All important buildings must face the south, and this uniform orientation increases the general architectural monotony produced by a preponderance of horizontal lines.

A special characteristic of Chinese architecture is the _pai-lou_, an archway erected only by special authority, usually to commemorate famous persons. The _pai-lou_ is commonly made of wood with a tiled roof, but sometimes is built entirely of stone, as is the gateway at the avenue of the Ming tombs. A magnificent example of the _pai-lou_ is that on the avenue leading to Wo Fo Ssü, the temple of the Sleeping Buddha, near Peking. This is built of marble and glazed terra-cotta. The _pai-lou_, like the Japanese _torii_, derives its origin from the _toran_ of Indian _stupas_. Lofty towers called _t'ai_, usually square and of stone, seem to have been a common type of important building in early times. They are described in old books as erected by the ancient kings and used for various purposes. The towers of the Great Wall are of the same character, and are made of stone, with arched doors and windows. Stone, though plentiful in most provinces of the empire, has been singularly little used by the Chinese, who prefer wood or brick. M. Paléologue attributes this preference of light and destructible materials to the national indifference of the Chinese to posterity and the future, their enthusiasm being wholly devoted to their ancestors and the past.

Temples are designed on the general _t'ing_ model. The Temple of Heaven is the most imposing of the Confucian temples, conspicuous with its covering of deep-blue tiles and its triple roof. Near this is the great Altar of Heaven, consisting of three circular terraces with marble balustrades. Buddhist temples are built on the general plan of secular residences, and consist of a series of rectangular courts with the principal building in the centre, the lesser at the sides. Lama temples differ little from these except in the interior decorations and symbolism. Mahommedan mosques are far simpler and severer in internal arrangement, but outwardly these also are in the Chinese style.

The _pagoda_ (Chinese _taa_), the type of Chinese architecture most familiar to the West, probably owes its peculiar form to Buddhist influence. In the pagoda alone may be found some trace of a religious imagination such as in Europe made Gothic architecture so full and splendid an expression of the aspiring spirit. The most famous pagoda was the Porcelain Tower of Nanking, destroyed by the T'aip'ing rebels in 1854. This was covered with slabs of faience coated with coloured glazes. The ordinary pagoda is built of brick on a stone foundation; it is octagonal with thirteen storeys.

No Chinese buildings show more beauty than some of the graceful stone bridges for which the neighbourhood of Peking has been famous for centuries.

See M. Paléologue, _L'Art chinois_ (1887): S.W. Bushell, _Chinese Art_, vol. i. (1904); J. Fergusson, _History of Architecture_; Professor Chûta Itô, articles in _The Kokka_, Nos. 197, 198. (L. B.)

4. _Sculpture_.--Except in the casting and decoration of bronze vessels the Chinese have not obtained distinction as sculptors. They have practised sculpture in stone from an early period, but the incised reliefs of the 2nd century B.C., a number of which are figured in Professor E. Chavannes's standard work,[81] while they display a certain spirit, lack the true plastic sense, and though the power of the Chinese draughtsmen increased rapidly under the T'ang and Sung dynasties, their work in stone showed no parallel progress. The feeling for solidity, which in Japan was a natural growth, was always somewhat exotic in China. With the impulse given to the arts by Buddhism a school of sculpture arose. The pilgrim Fa Hsien records sculpture of distinctive Chinese type in the 5th century. But Indian models dominated the art. Colossal Buddhas of stone were typical of the T'ang era. Little, however, remains of these earlier times, and such true sculpture in stone, wood or ivory as we know dates from the 14th and succeeding centuries. The well-known sculptures on the arch at Chu Yung Kuan (A.D. 1345) are Hindu in style, though not without elements of breadth and strength, which seem to promise a greater development than actually took place. The colossal figures guarding the approach to the Ming tombs (15th century) show that the national taste rapidly became conventional and petrified so far as monumental sculpture was concerned, though occasional examples of devotional or portrait sculpture on a smaller scale in wood and ivory are found, which in power, grace, sincerity and restraint can rank with the work of more gifted nations. Such pieces, however, are extremely rare, and at South Kensington the ivory "Kwanyin and Child" (274. 1898) is a solitary example. As a rule the Chinese sculptor valued his art in proportion to the technical difficulties it conquered. He thus either preferred intractable materials like jade or rock-crystal, or, if he wrought in wood, horn or ivory, sought to make his work curious or intricate rather than beautiful. There is, nevertheless, beauty of a kind in Chinese bowls of jade, and there is dignity in some of the pieces of rock-crystal, but the bulk of the carving done in wood, horn and ivory does not deserve a moment's serious thought from the aesthetic point of view. The few fine specimens may be referred to the earlier part of the Ming dynasty when Chinese art in general was sincere and simple. After the middle of the 15th century there set in the taste for profuse ornament which injured all subsequent Chinese work, and wholly ruined Chinese sculpture.

_Bronzes._--In Chinese bronzes we have a more consistent and exceptional form of plastic art, which can be traced continuously for some three thousand years. These bronzes take the form of ritual or honorific vessels, and the archaic shapes used in the service of the prehistoric religion of the country are repeated and copied with slight changes in decoration or detail to the present day.

The oldest extant specimens, chiefly derived from the sack of the Summer Palace at Peking, may be referred to the Shang and Chow dynasties (1766-255 B.C.). These ancient pieces have a certain savage monumental grandeur of design, are usually covered with a rich and thick patina of red, green and brown, and are decorated with simple patterns--scrolls, zigzag lines and a form of what is known as the Greek key-pattern symbolizing respectively waves, mountains and storm clouds. The animal forms used are those of the _tao-tieh_ (glutton), a fabulous monster (possibly a conventionalized tiger) representing the powers of the earth, the serpent and the bull. These two last in later pieces combine to form the dragon, representing the power of the air. In the Chow dynasty libation vessels were also made in the form of a deer, a ram or a rhinoceros. These characteristics are shown in figures 9-17, Plate II. Fig. 9 is a temple vessel of a shape still in use, but which must date from before 1000 B.C. With this massive piece may be contrasted the flower-like wine vase shown in fig. 10, a favourite shape which is the prototype of some of the most graceful forms of Chinese porcelain and Japanese bronze. Its date is about 1000 B.C. The large wine vase shown in fig. 11 is some 400 years later. On the body appears the head of the tao-tieh, on the handles are superbly modelled serpents. The technique, which in the previous pieces was somewhat rude, has now become perfect, yet the menacing majestic feeling remains. We see it no less clearly in fig. 12, a marvellous vessel richly inlaid with gold and silver and covered with an emerald-green patina. It may date from about 500 B.C., and indicates that even in this remote epoch the Chinese were not only daring and powerful artists but also master-craftsmen in metal.

It is indeed at this period that the art reaches its climax. The monumental grandeur of the Shang specimens is often allied to clumsiness; the later work, if more elaborate, is always less powerful. Nevertheless, it is to a later period that ninety-nine out of a hundred Chinese bronzes must be referred, and the great majority belong either to the Han and succeeding dynasties (220 B.C.-A.D. 400), or to the Renaissance of the arts which culminated under the Ming dynasty a thousand years later.

The characteristics of the first of these periods is the free use of small solid figures of animals as decoration--the phoenix, the elephant, the frog, the ox, the tortoise, and occasionally men; shapes grow less austere and less significant, as a comparison between figures 11 and 13 will indicate; then towards the end of the 2nd century A.D. the influence of Buddhism is felt in the general tendency towards suavity of form (fig. 14). This vase is most delicately though sparingly inlaid with silver and a few touches of gold. Some small pieces, very richly and delicately inlaid and covered with a magnificent emerald-green patina, belonging to this period, form a connecting link between the inlaid work of the Chow dynasty and that of the Sung and Ming dynasties. The mirrors with Graeco-Bactrian designs, a conclusive proof of the external influences brought to bear upon Chinese art, are also attributed to the Han epoch.

The troubled period between A.D. 400 and A.D. 960, in spite of the interval of activity under the T'ang dynasty, produced, it would seem, but few bronzes, and those few were of no distinct or noteworthy style. Under the Sung dynasty the arts revived, and to this time some of the most splendid specimens of inlaid work belong--pieces of workmanship and taste no less perfect than that of the Japanese, in which the gold and silver of the earlier work are occasionally reinforced with malachite and lapis-lazuli. The coming of Kublai Khan and the Yuen dynasty (1280-1367) once more brought the East into contact with the West, and to this time we may assign certain fine pieces of Persian form such as pilgrim bottles. The vessels bearing Arabic inscriptions belong to the Ming dynasty (1368-1644), with which the modern history of Chinese art begins.

The work done while the Ming dynasty was still young provides the student of Chinese art with many problems, and in one or two cases even the South Kensington authorities assign to pre-Christian times pieces that are clearly of Ming workmanship. The tendency of the period was eclectic and archaistic. The products of earlier days were reproduced with perfect technical command of materials, and with admirable taste; it is indeed by an excess of these qualities that archaistic Ming work may be distinguished from the true archaic. In fig. 15 we see how the Ming bronze worker took an earlier Buddhistic form of vase and gave it a new grace that amounted almost to artifice. A parallel might be found among the products of the so-called _art nouveau_ of to-day, in which old designs are revived with just that added suavity or profusion of curvature that robs them of character. Fig. 16 again might be mistaken almost for a piece of the Chow dynasty, were not the grandeur of its form modified by just so much harmony in the curvature of the body and neck, and by just so much finish in the details as to rob the design of the old majestic vigour and to mark it as the splendid effort of an age of culture, and not the natural product of a period of strength.

It is, however, in the inlaid pieces that the difference tells most clearly. Here we find the monstrous forms of the Shang and Chow dynasties revived by men who appreciated their spirit but could not help making the revival an excuse for the display of their own superior skill. The monstrous vases and incense-burners of the past thus appear once more, but are now decorated with a delicate embroidery of inlay, are polished and finished to perfection, but lose therewith just the rudeness of edge and outline which made the older work so gravely significant. At times even some grandly planned vessel will appear with such a festoon of pretty tracery wreathed about it that the incongruity is little short of ridiculous, and we recognize we have passed the turning-point to decline.

Decline indeed came rapidly, and to the latter part of the Ming epoch we must assign those countless bronzes where dragons and flowers and the stock symbols of happiness, good luck and longevity sprawl together in interminable convolutions. When once we reach this stage of contortion, of elaborate pierced and relief work, we come to the place in history of Chinese bronzes where serious study may cease, except in so far as the study of the symbols themselves throws light upon the history of Chinese procelain (see CERAMICS). One class of bronze alone needs a word of notice, namely, the profusely decorated pieces which have a Tibetan origin, and are obviously no older than the end of the Ming period. Of these fig. 17 will serve as a specimen, and a comparison with fig. 9 will show how the softer rounded forms and jewelled festoons of Hindu-Greek taste enervated the grand primitive force of the earlier age, and that neither the added delicacy of texture and substance nor the vastly increased dexterity of workmanship can compensate for the vanished majesty. (C. J. H.)

VII. THE CHINESE LANGUAGE

_Colloquial._--In treating of Chinese, it will be found convenient to distinguish, broadly, the spoken from the written language and to deal with each separately. This is a distinction which would be out of place if we had to do with any European, or indeed most Oriental languages. Writing, in its origin, is merely a symbolic representation of speech. But in Chinese, as we shall see, for reasons connected with the peculiar nature ot the script, the two soon began to move along independent and largely divergent lines. This division, moreover, will enable us to employ different methods of inquiry more suited to each. With regard to the colloquial, it is hardly possible to do more than consider it in the form or forms in which it exists at the present day throughout the empire of China. Although Chinese, like other living languages, must have undergone gradual changes in the past, so little can be stated with certainty about these changes that an accurate survey of its evolution is quite out of the question. Obviously a different method is required when we come to the written characters. The familiar line, "Litera scripta manet, volat irrevocabile verbum," is truer perhaps of Chinese than of any other tongue. We have hardly any clue as to how Chinese was spoken or pronounced in any given district 2000 years ago, although there are written remains dating from long before that time; and in order to gain an insight into the structure of the characters now existing, it is necessary to trace their origin and development.

The dialects.

Beginning with the colloquial, then, and taking a linguistic survey of China, we find not one spoken language but a number of dialects, all clearly of a common stock, yet differing from one another as widely as the various Romance languages in southern Europe--say, French, Italian and Spanish. Most of these dialects are found fringing the coast-line of China, and penetrating but a comparatively short way into the interior. Starting from the province of Kwang-tung in the south, where the Cantonese and farther inland the Hakka dialects are spoken, and proceeding northwards, we pass in succession the following dialects: Swatow, Amoy--these two may almost be regarded as one--Foochow, Wenchow and Ningpo. Farther north we come into the range of the great dialect popularly known as Mandarin (_Kuan hua_ or "official language"), which sweeps round behind the narrow strip of coast occupied by the various dialects above-mentioned, and dominates a hinterland constituting nearly four-fifths of China proper. Mandarin, of which the dialect of Peking, the capital since 1421, is now the standard form, comprises a considerable number of sub-dialects, some of them so closely allied that the speakers of one are wholly intelligible to the speakers of another, while others (e.g. the vernaculars of Yangchow, Hankow or Mid-China and Ss[)u]-ch'uan) may almost be considered as separate dialects. Among all these, Cantonese is supposed to approximate most nearly to the primitive language of antiquity, whereas Pekingese perhaps has receded farthest from it. But although philologically and historically speaking Cantonese and certain other dialects may be of greater interest, for all practical purposes Mandarin, in the widest sense of the term, is by far the most important. Not only can it claim to be the native speech of the majority of Chinamen, but it is the recognized vehicle of oral communication between all Chinese officials, even in cases where they come from the same part of the country and speak the same _patois_. For these reasons, all examples of phraseology in this article will be given in Pekingese.

So far, stress has been laid chiefly on the dissimilarity of the dialects. On the other hand, it must be remembered that they proceed from the same parent stem, are spoken by members of the same race, and are united by the bond of writing which is the common possession of all, and cannot be regarded as derived from one more than from another. They also share alike in the two most salient features of Chinese as a whole: (1) they are all monosyllabic, that is, each individual word consists of only one syllable; and (2) they are strikingly poor in vocables, or separate sounds for the conveyance of speech. The number of these vocables varies from between 800 and 900 in Cantonese to no more than 420 in the vernacular of Peking. This scanty number, however, is eked out by interposing an aspirate between certain initial consonants and the vowel, so that for instance _p'u_ is distinguished from _pu_. The latter is pronounced with little or no emission of breath, the "p" approximating the farther north one goes (e.g. at Niuchwang) more closely to a "b." The aspirated _p'u_ is pronounced more like our interjection "Pooh!" To the Chinese ear, the difference between the two is very marked. It will be found, as a rule, that an Englishman imparts a slight aspirate to his p's, t's, k's and ch's, and therefore has greater difficulty with the unaspirated words in Chinese. The aspirates are better learned by the ear than by the eye, but in one way or another it is essential that they be mastered by any one who wishes to make himself intelligible to the native.

The influence of the Mongolian population, assisted by the progress of time, has slowly but surely diminished the number of vocables in Pekingese. Thus the initials _ts_ and _k_, when followed by the vowel _i_ (with its continental value) have gradually become softer and more assimilated to each other, and are now all pronounced _ch_. Again, all consonantal endings in _t_ and _k_, such as survive in Cantonese and other dialects, have entirely disappeared from Pekingese, and _n_ and _ng_ are the only final consonants remaining. Vowel sounds, on the other hand, have been proportionately developed, such compounds as _ao, ia, iao, iu, ie, ua_ occurring with especial frequency. (It must be understood, of course, that the above are only equivalents, not in all cases very exact, for the sounds of a non-alphabetic language.)