Buddhism goes still further. It does not even believe in the reality of the world. In this belief, forms are but transitory, the universe an illusion forever flowing into an unending future. Outside of the supreme repose, in the six worlds of desire,[3] the things that are susceptible to pain and death pursue their evolution. Souls travel this closed cycle under the most diverse forms, from hell to the gods, advancing or retreating, in accordance with the good deeds or errors committed in previous existences. A stone, a plant, an insect, a demon, or a god are only illusory forms, each encompassing an identical soul on its way to deliverance, as it is caught at different stages of its long calvary and imprisoned through original sin and the instinctive desire for life. Whence we see emerging a new feeling of charity which embraces all beings. Their moral character is felt to be the same as that of man, their goal is the same, and in the vast world of illusion each seeks to fulfill the same destiny. [3] These are: the worlds of animals, of man, of gods or _dêvas_, of giants or _asuras_, of _prêtas_ or wandering spirits, and of hells. Freedom from perpetual transmigration in these six worlds is attained only through the extinction of desire. Behind the changes of the universe the Buddhist perceives the primal substance that pervades all creation. There results from this an intimacy with things which exists in no other creed. From inert matter to the most highly organized being, all creation is thus endowed with a sense of kinship that is destined to make a tender and stirring appeal in the artist's interpretation of nature. * * * * * PART TWO THE EVOLUTION OF CHINESE PAINTING I. ORIGINS The origins of painting in China are mingled with the origins of writing. Written characters are, in fact, derived from pictography or picture writing, those in use at the present time being only developed and conventionalized forms of primitive drawings. The early books and dictionaries give us definite information regarding this evolution. But while history bears witness to this ancient connection, we do not come into contact with actual evidence until the third century of our era, through the bas-reliefs of the Han dynasty, and in the fourth century through the paintings of Ku K'ai-chih. Here we find by no means the origin of an evolution but, on the contrary, the last traces of an expiring tradition. II. BEFORE THE INTERVENTION OF BUDDHISM The bas-reliefs of the Han dynasty are almost all comprised in the sculptured stone slabs embellishing mortuary chambers and of these the artistic merit is most unequal.[4] Their technique is primitive. It consists in making the contours of figures by cutting away the stone in grooves with softened angles, leaving the figure in silhouette. Engraved lines complete the drawing.