Li Me Hâ Ong
See also: Ong
One also allots to him the translation of many Christian texts but, of the Buddhist comments of the Sanscrit towards the Chinese. He was member of the “Library of corrections and the embellishments” of the Imperial palace, high place of thought and theological exchange.
Only one work of composition is allotted to him. Although the original was lost, its “Treated Seeds and Stars” is known thanks to the copy and with the translation, unfortunately partial, that made Melchior Nuñez of it. This last, arrived in China in 1555 had a refined knowledge of the Chinese. It transmitted to Matteo Ricci the invaluable work which included/understood, moreover, a half-dozen of landscapes of the period “green and blue” - of which compositions in “three mountains” - sails very about it under the dynasty Tang.
Nuñez describes it as a Moine nestorien but it is probable that the Jesuit used of this artifice to give to its translation a print nestorienne in all impunity.
The first Christians who arrive in China in 635 (under the dynasty Tang 618 - 907), are indeed nestoriens of origin Iran ienne. They are studied directly of Chinese to be able to explain the specific concepts with the Christian faith (God single creator of all things, Transcendance,…) but their bigger problem is to find a vocabulary suitable, which inevitably involves second readings and corrections. Among the 70 000 rollers discovered in 1909 in the cave of the Thousand Buddhas, walled at the 10th century, are texts nestoriens.
Very quickly crossed their roots, these nestoriens are often seen obliged to make theological decisions without being able to refer to any authority. With the wire of time, they are based more and more in the Chinese culture and attract each other the sympathy of some Chinese well-read men, of which some convert. In spite of that, they remain far from known because they do not interest the Chinese very directed towards the Taoïsme. The little which one knows their small communities however extremely precise and is detailed, thanks to carefully consigned information and with meticulousness, as one can do it so well in China.
About the middle of the 9th century, however, under the reign of Tang Wu Zong, all the “cruel” religions (i.e. foreign) are prohibited in China. One finds the trace of the nestoriens only towards 1260, at the Court of Kubilai Khan whose mother was nestorienne and where they are close to the capacity. At the 17th century, the nestoriens completely disappeared from China.
Two anonymous pictorial works are allotted to Li My-hong (particular collection):
Reflections of Giants vertical Roller, ink and colors light on silk, 79,5 X 36,3. Mountains with the escarpés peaks, alternating with deep and shaded throats, overhang a lake, supplied with a cascade and surrounded by a generous vegetation. The plays of shade and light, the tonalities of green and blue and the superposition of different plans (mountains/valleys, cascades, lake/vegetation) give an impression of depth to the landscape in which it seems that there is only one step to cross to melt itself in its vastness, in the silence its heights, the giddiness of its slopes precipice, from the point of view of its panorama.
Spring in the garden of My vertical Roller, ink and colors on silk, 69 X 30 cm, preserved in a box out of wooden without inscription. The garden of a beautiful residence. A water level, some stones judiciously laid out appear the mountains. Mountain and water are of the elements of first importance of the Chinese garden. In this table, the Marie author with happiness two specifically Chinese arts: the painting of landscape and the garden. The composition, in its lower part, shows a solid mass of peonies in full flowering close with a rock to the forms biscornues. With the foreground, a very worked grid protects the trunk from a knotty tree. Space is furnished: count, chairs covered with camaieu fabrics, folding screen enamelled richly decorated with stylized enough floral interlacings. An impression of comfort calms emerges from the unit, accentuated by the presence of a deadened cat.
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