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Updated: June 27, 2025
As the power of the empire grew, this zone of influence extended as far as Indonesia: the process had begun in the T'ang period. The trade with the south had not the deleterious effects of the trade with Central Asia. There was no sale of refined metals, and none of fabrics, as the natives produced their own textiles which sufficed for their needs.
He was the first to mention the islands of the immortals in the ocean, the kingdoms of the dwarfs and giants, the fruit of immortality, the repairing of the heavens by Nü Kua Shih with five-coloured stones, and the great tortoise which supports the universe. The T'ang and Sung Epochs Religious romance began at this time.
He was originally a scholar named Ts'ui Chio, who became Magistrate of Tz'u Chou, and later Minister of Ceremonies. After his death he was appointed to the spiritual post above mentioned. His best-known achievement is his prolongation of the life of the Emperor T'ai Tsung of the T'ang dynasty by twenty years by changing i, 'one, into san, 'three, in the life-register kept by the gods.
The crowding of people into the capital and the accumulation of resources there promoted a rich cultural life. We know of many poets of that period whose poems were real masterpieces; and artists whose works were admired centuries later. These poets and artists were the pioneers of the flourishing culture of the later T'ang period. Hand in hand with this went luxury and refinement of manners.
1 Provinces Fengtien. |Locality |District |Mineral | | | |1. Niu Hsin T'ai |Pen-hsi |Coal |2. Tien Shih Fu Kou |Pen-hsi |Coal |3. Sha Sung Kang |Hai-lung |Coal |4. T'ieh Ch'ang |Tung-hua |Coal |5. Nuan Ti T'ang |Chin |Coal |6. An Shan Chan region |From Liaoyang to Pen-hsi |Iron Sha Sung Kang |Ho-lung |C. & I. |2. Chia P'i Kou |Hua-tien |Gold "I avail, etc.,
With Hsüan Tsung there began now a period of forty-five years, which the Chinese describe as the second blossoming of T'ang culture, a period that became famous especially for its painting and literature. 5 Second blossoming of T'ang culture The T'ang literature shows the co-operation of many favourable factors.
One day young T'ang got up before daylight and started for the hills, carrying his axe on his shoulder. He bade his mother good-bye, telling her that he would be back early with a heavier load of wood than usual, for the morrow would be a holiday and they must eat good food.
Kuan Yin was at one time always represented as a man; but in the T'ang dynasty and Five Dynasties we find him represented as a woman, and he has been generally, though not invariably, so represented since that time. In old Buddhism Shâkyamuni was the chief god, and in many temples he still nominally occupies the seat of honour, but he is completely eclipsed by the God or Goddess of Mercy.
All day long Widow T'ang waited patiently, saying to herself over and over as she went about her simple work, "The good boy, the good boy, how he loves his old mother!" In the afternoon she began watching for his return but in vain. The sun was sinking lower and lower in the west, but still he did not come. At last the old woman was frightened. "My poor son!" she muttered.
Thus, I should say that the slope at the head of which stand the Buddhist masterpieces of the Wei, Liang, and T'ang dynasties begins a great deal higher than the slope at the head of which are the Greek primitives of the seventh century, and higher than that of which early Sumerian sculpture is the head; but when we have to consider contemporary Japanese art, Graeco-Roman and Roman sculpture, and late Assyrian, we see that all have found the same sea-level of nasty naturalism.
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