beings.
Their moral character is felt to be the same as that of man, their goal is
the same, and in the vast world of illusion each seeks to fulfill the same
destiny.

[3] These are: the worlds of animals, of man, of gods or _devas_, of
giants or _asuras_, of _pretas_ or wandering spirits, and of hells.
Freedom from perpetual transmigration in these six worlds is attained
only through the extinction of desire.

Behind the changes of the universe the Buddhist perceives the primal
substance that pervades all creation. There results from this an intimacy
with things which exists in no other creed. From inert matter to the most
highly organized being, all creation is thus endowed with a sense of
kinship that is destined to make a tender and stirring appeal in the
artist's interpretation of nature.

* * * * *

PART TWO
THE EVOLUTION OF CHINESE PAINTING

I. ORIGINS

The origins of painting in China are mingled with the origins of writing.
Written characters are, in fact, derived from pictography or picture
writing, those in use at the present time being only developed and
conventionalized forms of primitive drawings. The early books and
dictionaries give us definite information regarding this evolution. But
while history bears witness to this ancient connection, we do not come
into contact with actual evidence until the third century of our era,
through the bas-reliefs of the Han dynasty, and in the fourth century
through the paintings of Ku K'ai-chih. Here we find by no means the origin
of an evolution but, on the contrary, the last traces of an expiring
tradition.

II. BEFORE THE INTERVENTION OF BUDDHISM

The bas-reliefs of the Han dynasty are almost all comprised in the
sculptured stone slabs embellishing mortuary chambers and of these the
artistic merit is most unequal.[4] Their technique is primitive. It
consists in making the contours of figures by cutting away the stone in
grooves with softened angles, leaving the figure in silhouette. Engraved
lines complete the drawing.

The subjects are sometimes mythical and sometimes legendary. There are
representations of divinities, fabulous animals, scenes of war and of the
chase and processions of people bearing tribute. At times the great
compositions display imposing spectacles, a luxurious and refined array.
Now and then attempts at pictorial perspective are joined to some
unrelated scene.

All this is in d