Record of the Classification of Old Painters
Preface
Hsieh Ho (fl. c. 500–535?)
Now by classification of painters is meant the relative superiority and inferiority of all painters. As for painters, there is not one who does not illustrate some exhortation or warning, or show the rise and fall in man’s affairs. The solitudes and silences of a thousand years may be seen as in a mirror by merely opening a scroll.
Even though painting has its Six Elements,1 few are able to combine them thoroughly; and from ancient times until now each painter has excelled in one particular branch. What are these Six Elements? First, Spirit Resonance, which means vitality; second, Bone Method, which is a way of using the brush; third, Correspondence to the Object, which means the depicting of forms; fourth, Suitability to Type, which has to do with the laying on of colors; fifth, Division and Planning, that is, placing and arrangement; and sixth, Transmission by Copying, that is, the copying of models.
Only Lu T’an-wei2 and Wei Hsieh3 were thoroughly proficient in all of these.
But, while works of art may be skillful or clumsy, esthetics knows no ancient and modern. Respectfully relying upon remote and recent sources and following their classifications, I have edited and completed the preface and citations. Hence what is presented is not too far-ranging. As for the origins of painting, it is merely reported that it proceeded from gods and immortals, but none was witness to such.
Translated by Susan Bush and Hsio-yen Shih, based on the translation of William Acker
The Record of the Classification of Old Painters (Ku-hua p’in-lu) is a short work, but it has had a seminal impact on all later theories of art in China. In it, Hsieh Ho laid down the six fundamental principles for Chinese painting theory. Although they are extremely difficult to interpret (it would appear that Hsieh Ho himself had not fully assimilated them), it is highly probable that there is some connection with the ṣadaṅga (six limbs) of Indian painting theory since the two sets correspond virtually one to one. A close correspondence should also be noted between ideas expressed in this preface and in concepts common to early Chinese literary theory such as The Literary Mind and the Carving of Dragons (see unnumbered note to selection 12).
Hsieh Ho may have been related to the famous progressive poets of the Southern Dynasties, Hsieh Ling-yün (see selection 21) and Hsieh T’iao (464–499).
1. More literally, “laws.”
2. Fifth century.
3. Active late third to early fourth century.