International studio (80.1925)

mceRtiAcionAL

The correct thing to say at this
juncture is that the Wei-Tartar sculp-
ture is distinct from the periods before
and after it because of the slenderness
of its figures and the stylized rhythm of
the draperies.

But it would be a serious omission
to fail to point out the Wei smile—that
very definitely humorous smile which
combines amusement with tenderness.
Buddha himself wears it very often,
though somewhat apologetically; but
the Bodhisattvas, who need not take
mankind too seriously since they still
more or less belong to it, smile broadly.
This smile is the best possible evidence
that the Chinese had lost their earlier
fear and awe of their gods and looked
upon them as beings capable of human
emotions and sympathies.

One who explored the cave temples
and shrines in the mountains near what
is now known as Yun Kang—those
caves from which a great deal of Wei
sculpture has come—tells how delightful
it was to stand in one of them and to
see, wherever one gazed, that welcoming
smile of cheerful tenderness.

The votive tablet in the illustration
shows Buddha with two attendant Bod-
hisattvas. The faces of the three prin-
cipal figures, the decorative quality of
the draperies, especially those of the
group of figures at the top, are typical
expressions of the genius of the Wei
sculptors.

AMITAHBA OR AMIDA, STONE TANG DYNASTY r -TIT

The building of the railroad through
China first brought these Wei sculptures

converted (they were won over to Buddhism by to light and undoubtedly many, especially the

their subjects), they wished to advertise their con- clay figures, were destroyed before the curio

version in the form of images. Image-making hunter had discovered them. When they were

became part of the education of all cultured finally brought to Paris, they made as much of a

people. It is related that one about to become stir as the Tanagra figures and were as well faked,

emperor or empress must first cast an acceptable The head of a Bodhisattva assigned to the

image in bronze; and that the test of acceptability sixth century (that is, the close of the Wei

was genuine is proven by the fact that several, dynasty) gives every indication that this Tartar

both men and women, failing to cast worthy sculpture went out in a burst of glory. The Wei

images, were barred from the throne. smile is wanting, but in its place wre have an

These Tartar invaders left one very definite expression of reserve more appropriate to a

mark of their passing upon Chinese sculpture and divinity; an expression less earthy but more

that is a new type of face which differs from the serene, majestic and tender. The standing figure,

native Han and Indian and is probably Central illustrated here, of Avalokitesvara, the God ol

Asian. Already, only a century or two after Bud- Mercy, is variously assigned to the Wei, the Sui

dhism became popular in China, the figures of and the T'ang dynasties. The expression of the

gods and saints have lost the heaviness of the face and the arrangement of the draperies suggest

southern type and are slenderer and more graceful. Wei characteristics; the type of face, however, is

two ninety-six

JANUARY' I925