66
CHIU LING-YEONG
The style of I-seng was of Iranian origin, in which modeled and shaded polychrome figures seemed to stand out in relief, or even to float free from their background. His style is believed to have influenced Wu Tao-hsüan and to be traceable in the caves of Tun-huang.
35
From Chinese sources, Ta Yü-chih had three paintings extant in T'ang period, namely: (1) Liu-fan tu; (2) Wai-kuo pao-shu tu (the six foreigners); and (3) Po-lo-men tu (exotic tree from foreign country); (the Brahmara). However, according to Hsüan-ho hua-p'u, there were seven paintings of Hsiao Yu-chih's work, kept by Sung Hui-tsung, namely:
1. Icon of Maitreya 彌勒佛像一;
2. Buddhist icon 佛鋪圖一;
3. Buddhist followers 佛從像一;
4. Buddhist followers from foreign country 外國佛從像一;
5. Avolokitesvara 大悲像一;
6. Vidyaraja 智;
7. Foreigners36;
These seven masterpieces were kept by the Emperor in the Inner Palace. Some of I-seng's paintings are still kept by collectors either in China or America, like the Dancing girl of Kucha #✯✯; A Sitting God 坐神; Buddha under the Mango Trees 吉羅林果佛; and Drunken Monk 醉僧圖.
The Yu-chihs were also masters of mural-paintings. Some of their works can still be found in temples and pagodas in China. In the Sung period, their works were classified as shen-p'in (divine category). I-seng also introduced the 'iron-wire' line to China—the Western technique of using a line of unvarying thickness to outline figures.37 I-seng, according to Chang Yen-yüan, had brought new light to Chinese painting and made more paths for painters of the later generations to develop.
Ch'in Ming-ho
At th...
In the field of medical science in T'ang China, Professor Lo Hsiang-lin inclines to believe that Persians had made tremendous contributions, especially in surgical operations. In A.D. 683, a Persian known as Ch'in Ming-ho, performed a neurosurgical
66
CHIU LING-YEONG
The style of I-seng was of Iranian origin, in which modeled and shaded polychrome figures seemed to stand out in relief, or even to float free from their background. His style is believed to have in- fluenced Wu Tao-hṣüan and to be traceable in the caves of Tun-huang
35
From Chinese sources, Ta Yü-chih had three paintings extant in T'ang period, namely: (1) Liu-fan tu (2) Wai-kuo pao-shu tu
country); and (3) Po-lo-men tu
ever, according to Hsüan-ho hua-p'u
(the six foreigners); (exotic tree from foreign
(the Brahmara). How-
*1#, there were seven
+
paintings of Hsiao Yu-chih's work, kept by Sung Hui-tsung · namely:
1. Icon of Maitreya 彌勒佛像一;
2.
Buddhist icon 佛鋪圖一;
3. Buddhist followers 佛從像一;
4.
5.
6.
7.
Buddhist followers from foreign country 外國佛從像一; Avolokitesvara 大悲像一;
Vidyaraja £;
Foreigners36 ^~;
These seven masterpieces were kept by the Emperor in the Inner Palace. Some of I-seng's paintings are still kept by collectors either in China or America, like the Dancing girl of Kucha #✯✯ ; A Sitting God 坐神;Buddha under the Mango Trees 吉羅林果佛; and Drunken Monk醉僧圖.
The Yu-chihs were also masters of mural-paintings. Some of their works can still be found in temples and pagodas in China. In the Sung period, their works were classified as shen-p'in i B (divine category). I-seng also introduced the 'iron-wire' line
#
to China-the Western technique of using a line of unvarying thickness to outline figures.37 I-seng, according to Chang Yen-yüan, had brought new light to Chinese painting and made more paths for painters of the later generations to develop.
Ch'in Ming-ho At th
In the field of medical science in T'ang China, Professor Lo Hsiang-lin inclines to believe that Persians had made tre- mendous contributions, especially in surgical operations. In A.D. 683, a Persian known as Ch'in Ming-ho, performed a neurosurgical
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