[Princess Yang. Ming Period]

Princess Yang. Ming Period

This painting represents Princess Yang Kwei-Fei, the celebrated favorite of the Emperor T'ang Huan Tsung, returning from her bath. It is an excellent example of the Ming period (1368-1644 A. D.), lovely in color, distinguished by courtly elegance and refinement of drawing. It has been attributed to Yiu Kiu, also named Tze-Kiu. The daughter of a petty functionary, the Princess Yang became in 735 A. D. one of the concubines of the Emperor's eighteenth son. Her surpa.s.sing beauty and accomplishments won the affections of the Emperor himself. So great was her ascendancy over this weak voluptuary that the Imperial favorite was treated by the court with demonstrations of respect that justly appertained to none save the Empress Consort; members of her family were raised to high office; and no outlay was spared in gratifying the caprice and covetousness of the Princess or her relatives. It is not surprising that a rebellion resulted. During the flight of the court in 756 A. D.

the Imperial guard revolted, and the Emperor was constrained to order the Princess Yang to be strangled.

[Vase. Ming Period]

Vase. Ming Period

The porcelain vase is decorated in five colors on a white ground with a design showing a peac.o.c.k, a phoenix and smaller birds among rocks, foliage and blossoms. It is a characteristic and fine production of the late Ming Period (1368-1644). Altogether admirable is the way in which the design, drawn with great freedom and boldness, is adapted to the shape of the vase. The colors are skillfully harmonized; the beautiful blue should be particularly noted.

[Chinese Porcelain of the XVII and XVIII Centuries]

Chinese Porcelain of the XVII and XVIII Centuries

Apple-green, ashes-of-rose, mirror-black, camellia-green, lemon-yellow, and celadon are some of the beautiful glazes exemplified in this group of remarkable "solid-color" porcelains dating from the reigns of K'ang Hsi, Yung Cheng and Ch'ien Lung (second half of XVII century and the XVIII century). The large plate is a fine piece of K'ang Hsi decorated porcelain. Most of the pieces in this case were formerly in the celebrated Morgan Collection. Gift of Mrs. E. C. Gale.

EGYPTIAN ART

[Detail of the Cartonnage Enclosing the Mummy of the "Lady of the House, Tesha". Dynasty XXII-XXV]

Detail of the Cartonnage Enclosing the Mummy of the "Lady of the House, Tesha". Dynasty XXII-XXV

The Egyptian collection, purchased from the Drexel Inst.i.tute, includes over seven hundred objects, ranging from sculpture and painting to furniture and utensils of daily life. It affords an adequate ill.u.s.tration of the conditions under which art flourished in the ancient land of the Nile, and of the characteristic forms of art expression which were evolved to meet these conditions.

After monumental architecture, the system of decoration evolved by the Egyptians is perhaps their greatest contribution to the world's art. A few characteristics of Egyptian painting and sculpture may be noted. Color is used in flat areas without gradation and effects of light and shade. In drawing, outline is the princ.i.p.al mode of representation. Various conventions originating in the primitive stages of art, such as the representation of the human body with head and legs in profile and the shoulder to the front, became traditional and were continued with little change throughout later periods. These conventions, however, did not prevent the artist in the more vigorous periods of Egyptian art from noting with great keenness of observation many truths of nature. This curious conflict between realistic observation and conventional means of representation is characteristic of Egyptian art. In free-standing sculpture, the variety of postures was limited to a few unvarying poses.

On the whole, in the figurative arts, types and subjects remain unchanged throughout Egyptian history, although from time to time the informing spirit was different.

This immutable character of Egyptian art is thoroughly consonant with the idea of duration which was so strongly a controlling factor in Egyptian life. We cannot consider here the manifold ramifications of Egyptian religious belief, but one central tenet-that existence continued after death-must receive some attention, since this belief in the after-world explains many features that might otherwise be puzzling. The tomb, for example, was thought of as the real dwelling house, "the eternal house of the dead"; the houses of the living were merely "wayside inns." As a result, domestic architecture was inconsequential; all efforts were concentrated on the construction and decoration of tombs and temples.

[Coffin and Mummy of the "Lady of the House, Tesha" From Thebes, Dynasty XXII-XXV.]

Coffin and Mummy of the "Lady of the House, Tesha" From Thebes, Dynasty XXII-XXV.

The mummy is enclosed in a cartonnage, made of many layers of linen held together by plaster, elaborately decorated by inscriptions and figures of the G.o.ds. The anthropoid coffin is made of wood, and is also richly decorated. Tesha was the daughter of the Doorkeeper of the Golden House (or Treasury) of Amon at Thebes.

It was believed that man was composed of different ent.i.ties each having its separate life and function. First, there was the body itself; then, the Ka or double-the ethereal projection of the individual, corresponding in a way to our ghost. Two other elements were the Ba or soul and the Khu or luminous spark from the divine fire. Each of these elements was in itself perishable. Left to themselves, they would hasten to dissolution, and the man, as an ent.i.ty, would be annihilated. This catastrophe, however, could be averted through the piety of the survivors. The decomposition of the body could be prevented, or at least suspended, by the process of embalming; prayers and offerings saved the other elements from the second death and secured for them all that was necessary for the prolongation of their existence. The influence upon the arts of these religious beliefs is interesting to note. Scenes of harvesting, hunting, and similar episodes connected with the offering of food were painted or carved upon the tomb walls, generally for an utilitarian purpose. Through the recitation of prayers and magic formulae, the pictured semblances of food became reality and saved the hungry Ka from annihilation in case actual offerings should fail him. In the same way, portrait statues were placed in tombs to provide a semblance of the deceased to which the Ka could return were the actual body destroyed. These instances are perhaps sufficient to show us how closely art was related to religion in ancient Egypt.

CHRONOLOGICAL TABLE

Pre-Dynastic Period about 4000-3400 B.C.

Accession of Menes and Beginning of Egyptian History 3400 B.C.

Early Dynastic Period, I and II Dynasties 3400-2980 B.C.

Old Kingdom

III Dynasty 2980-2900 B.C.

IV Dynasty 2900-2750 B.C.

V Dynasty 2750-2625 B.C.

VI Dynasty 2625-2475 B.C.

Transitional Period

VII-X Dynasties. 2475-2160 B.C.

Middle Kingdom

XI Dynasty 2160-2000 B.C.

XII Dynasty 2000-1788 B.C.

Hyksos Period

XIII-XVII Dynasties. 1788-1580 B.C.

The Empire

XVIII Dynasty 1580-1315 B.C.

XIX Dynasty 1315-1200 B.C.

XX Dynasty 1200-1090 B.C.

XXI Dynasty 1090-945 B.C.

Late Dynastic Period

XXII Dynasty 945-745 B.C.

XXIII Dynasty 745-718 B.C.

XXIV Dynasty 718-712 B.C.

XXV Dynasty 712-663 B.C.

Saite Period

XXVI Dynasty 663-525 B.C.

Persian Conquest of Egypt 525 B.C.

Persian Period