International studio (80.1925)

mceRnACionAL

stroa©

China between the fourth and the tenth centuries
—from India, from Central Asia, from the north
and the south. It is important to remember this
because of its effect upon Chinese art. So much
' for historical facts.

The religious background of these figures is
even more complicated. Even were it necessary,

editorial interdict has forbidden any account of
the Gautama Buddha and has particularly pleaded
for the omission of the inevitable reference to the
prophet sitting under the Bho tree. It seems a
pity. There is nothing in our theology to equal
the story of a prophet who, recalling the ecstasy
of eating an apple under a tree in his boyhood

two ninety-two

January 1925