Evening star., 1961-05-28

GCI 1d1lOS 3OIs
Approximately half the
show is composed of paint
ings, in which the collec-
tions are unsurpassed. There
are landscape, figure, bird,
flower and animal paintings
of the Sung dynasty and by
leading masters of the Yuan
and Ming, a few Tang (the
shows earliest) and some
Ching.
Entering the first exhibi-
ton gallery at the National,
the visitor is in a dream
world of landscape on hang
ing scrolls, mostly mono
chromes, painted in ink on
silk, which has darkened con-
siderably. Some Of the paint
ings have judicious additions
of color. They reward study
both close and at a distance.
These rugged, towering
mountains, illimitable dis
tances, wandering rivers and
forests, express a serene ac-
ceptance of nature in which
man plays but a small role.
But man is very much
there, and not at all abashed
by his insignificance in the
scheme of things. He is con-
tent to be a part of the
immortal whole. He does not
have to dominate nature, as
Western man has seemed in
the past seven or eight cen
turies that he must. Visitors
should look closely at the
Chinese artists tiny figures
of man, his lodges, horses,
boats, which he is enjoying
to the ultimate degree. One
of my favorites in the show
is No. so, Listening to the
Wind in the Pines," surely
a more rewarding pastime
than watching television.
Other landscapes with fig
ureS are painted on hand
scrolls, which in some in
stances extend to surprising
lengths. Whereas the hang
ing scrolls are seen as enti-
ties, the hand scrolls were un-
rolled so that the observer
followed the scene as if walk
ing through it. Even more
intimate in character is the
third form of Sung land
Scape painting in the show,
album leaves.
These paintings are one Of
the greatest achievements in
the history Of art.
( Shown with the paintings
are calligraphies, which de-
yeloped from Chinese writing.
Calligraphy must be one of
the most battling forms of
art to the Occidental, who
IN many instances can barely
sign his name legibly.
/ 50"
The earliest objects in the
show are five bronze vessels,
from the Shang and Chou
dynaSties, 1890 to more than
5000 years ago. Their size,
sturdiness and strength Of
forms, and harmonious dec
oration, are as impressive as
their great age and excellent
condition.
The second largest class Of
exhibits comprises ceramics,
Q Chinese art with which we
are more familiar than any
other. These in the show
are chiefly Sung, Ming and
Ching. A collection of Kuan
fSung) pieces in gray green
and grey blue glazes with
trackle is beguiling. Other
Sung dynasty treasures are
the porcelain lotus bowls
1NoS. 142 and 1869 Glorious
red porcelains of the Ming
era include a stem-cup with
dragon decoration, and a
pitcher with a monks hat
lid. The latest period, Ching
(1644-1912), is represented
with sophisticated and elab-
orately decorated pieces
which will doubtless appeal
to the public more than ear
lier works. They range from
large handsome blue and
white vases (nearly 80 inches
high to tiny wine cups an
inch or so in height. Many
of the porcelains are so thin
as to be almost transparent.
The birds, flowers, chickens
and other decorations have a
minute perfection that sug-
gests they were painted by
artists with microscopic eye
sight.
Washington is fortunate
to have two and a half
months to see this unparal-
leled exhibition. Anyone who
after the first visit does not
want to return again and
again, must lack something