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Taoist love of nature is not always present in
Chinese landscape painting but gradually developed from Six Dynasties period when Taoists Lao-tzu, Chuang-tzu, the Pao-p'u tzu's thoughts are reflected in literature documents. Apart from the contemporary Confucian tradition of insisting on human cultivation and learning to be more educated and build up social framework, Taoist persist on going back to human's origin, which is to be ignorant. Taoists believe that if one discard wise, the robbery will stop. If people abandon expensive jewelry, thieves will not exist. From the Han dynasty, the practice of Taoism was associated with alchemical and medicine made. To better pursuit Taoism belief, Taoist need to go on pilgrim into specific mountains to connect themselves with the spirits and immortals that lived in those mountains. In the third and fourth century, the practice of escaping society and going back to nature mediating in the countryside is further enhanced by a group called Seven Sages of the Bamboo Grove who would like to escape from the civil unrest. The wise men fleet the world and wonder in the countryside and enjoy the tranquil landscape and forgot to return. The Taoism ideology of forgetfulness, self-cultivation, harmonizing with nature world, and purifying soul by entering the isolated mountains to mediate and seek medicine herbs create the scene of landscape painting.
1953:, the potential candidates for the donkey rider are dismissed and the character can only be Meng Haoran. Meng Haoran has made more than two hundred poems in his life but none of them is related with donkey ride. Depicting him as a donkey rider is a historical invention and Meng represents a general persona than an individual character. Ruan Ji was depicted as donkey rider since he decided to escape the office life and went back to the wilderness. The donkey he was riding is representing his poverty and eccentricity. Du Fu was portrayed as the rider to emphasis his failure in office achievement and also his poor living condition. Meng Haoran, similar to those two figures, disinterested in office career and acted as a pure scholar in the field of poem by writing real poems with real experience and real emotional attachment with the landscape. The donkey rider is said to travel through time and space. The audience are able to connect with the scholars and poets in the past by walking on the same route as those superior ancestors have gone on. Besides the donkey rider, there is always a bridge for the donkey to across. The bridge is interpreted to have symbolic meaning that represents the road which hermits depart from capital city and their official careers and go back to the natural world.
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examination success. Since another painting which has similar subjects—gibbons and egrets, is given the title of San yuan de lu三猿得鹭, or Three gibbons catching egrets. As the rebus, the sound of the title can also be written as 三元得路, meaning "a triple first gains power." 元represents "first" replaces its homophonous 猿, and 路means road, replaces 鹭. Sanyuan is firstly recorded as a term referring to people getting triple first place in an exam in
Qingsuo gaoyi by a North Song writer Liu Fu, and the usage of this new term gradually spread across the country where the scenery of gibbons and egrets is widely accepted. Lately, other scenery derived from the original paintings, including deer in the scene because in Chinese, deer, lu is also a homophonous of egrets. Moreover, the number of gibbons depicted in the painting can be flexible, not only limited to three, sanyuan. Since the positions in Song courts are held by elites who achieved jinshi degree, the paintings with gibbons, egrets or deer are used for praising those elites in general.
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2121:. This assimilation is also recorded in a poem by poet from the Six Dynasties period who pointed out that the beauty and numinosity of the mountain can elevate the spiritual connection between human being and the spirits. Thus, the landscape painting come into display Buddha's image in people's everyday ritual practice. Hui-yuan described in his poem that "Lushan seems to mirror the divine appearance" which unifies the two images—the true image and the reflection of Buddha. Moreover, spiritual elevation can be achieved by contemplating in front of landscape painting which depict the same mountain and path those old sages have been to. The painting contains both the spiritual force (ling) and the truth (li) of Buddha and also the objects that no longer physically presence. Hui-Yuan's famous image is closely relation with its landscape scene indicating the trend of transformation from Buddha image to landscape painting as a religious practice.
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Jade Hall which full of mist clouds and mysterious land is closely related to Taoism tradition. When Yan Su, a painter followed the style of Li Cheng, was invited to paint the screen behind the seat of the emperor, he included elaborated constructed pavilions, mist clouds and mountain landscape painting in his work. The theme of his painting is suggesting the immortal realm which accord with the entire theme of the Jade Hall provides to its viewer the feeling of otherworldliness. Another painter, Guo Xi made another screen painting for emperor
Shenzong, depicting mountains in spring in a harmonized atmosphere. The image also includes immortal elements Mount Tianlao which is one of the realms of the immortals. In his painting, Early Spring, the strong branches of the trees reflects the life force of the living creatures and implying the emperor's benevolent rule.
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remarkable things I saw in this connection is that if I visited one of their cities, and then came back to it, I always saw portraits of me and my companions painted on the walls and on paper in the bazaars. I went to the Sultan's city, passed through the painters' bazaar, and went to the Sultan's palace with my companions. We were dressed as Iraqis. When I returned from the palace in the evening I passed through the said bazaar. I saw my and my companions' portraits painted on paper and hung on the walls. We each one of us looked at the portrait of his companion; the resemblance was correct in all respects. I was told the Sultan had ordered them to do this, and that they had come to the palace while we were there and had begun observing and painting us without our being aware of it. It is their custom to paint everyone who comes among them.
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2172:"Arts in maps, arts as maps, maps in arts, and maps as arts," are the four relationships between art and map. Making a distinction between map and art is difficult because there are cartographic elements in both paintings. Early Chinese map making considered earth surface as flat, so artists would not take projection into consideration. Moreover, map makers did not have the idea of map scale. Chinese people from Song dynasty called paintings, maps and other pictorial images as tu, so it's impossible to distinguish the types of each painting by name. Artists who paint landscape as an artwork focus mainly on the natural beauty rather on the accuracy and realistic representation of the object. Map on the other hand should be depicted in a precise manner which more focus on the distance and important geographic features.
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influence. Hence, the Taoism's anti-social belief was disfavored by the imperial government. Han rulers only favored portrait painting which enabled their image to be perpetuate and their civilians to see and to memorize their great leaders or generals. Landscape at that time only focus on the trees for literary or talismanic value. The usage of landscape painting as ornament is suspects to be borrowed from other societies outside Han empire during its expansion to the Near East. Landscape and animal scene began to appear on the jars, but the decoration has little to do with connection with the natural world. Also, there is evidence showing that the emerging of landscape painting is not derived from map-making.
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just as
Confucius uses portrait painting in their ritual practice. (Ku Kai Chih's admonitions) During this time period, the landscape painting is more coherence with variation trees, rocks and branches. Moreover, the painting is more elaborated and organized. The evolution in landscape painting during the Six Dynasties is that artists harmonized sprit with the nature. (Wu Tao-tzu) Buddhism might also contribute in affecting changes in landscape painting. The artists began to show space and depth in their works where they showed mountain mass, distanced hills and clouds. The emptiness of the space is helping the believers meditating to enter the space of emptiness and nothingness.
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with spirits and immortals. And sometimes, mountains are depicted as mystical mountains" (shenshan), where sages and legendary animals settled. Hence, landscape painting is used as an object for Taoism practice which provide visualize form for religious ritual. During the Six
Dynasties period, the landscape painting experienced a stylistic change which myth and poem depiction were introduced into the painting. For example, in Ku Kai-chih's "Nymph of the river" scroll and "The Admonitions of the Court Preceptress", audience are able to read narrative description and text accompanied by visualized images.
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1933:, features with two "hoary headed birds," "Baitou weng" resting on a tree branch together. "Baitou" in Chinese culture is allusion to faithful love and marriage. In a well-known love poem, it wrote: "I wish for a lover in whose heart I alone exist, unseparated even our heads turn hoary." During Huizong's rule, literati rebus is embedded in court painting academy and became part of the test routine to enter the imperial court. During Song dynasty, the connection between painters and literati, paintings and poem is closer.
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1996:, proposed the three-bond theory saying that: "the ruler is Yang and the subject is Yin, father is Yang and son is Yin…The husband is Yang, and the wife is Yin," which places females in a subordinate position to that of males. Under the three-bond theory, women are depicted as housewives who need to obey to their husbands and fathers in literature. Similarly, in the portrait paintings, female characters are also depicted as exemplary women to elevate the rule of males. A hand roll
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other two groups as mere professionals, since they relied on paid commissions for their livelihood and did not paint merely for enjoyment or self-expression. The scholar-artists considered that painters who concentrated on realistic depictions, who employed a colorful palette, or, worst of all, who accepted monetary payment for their work were no better than butchers or tinkers in the marketplace. They were not to be considered real artists.
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1941:"The country is broken; mountains and rivers remain." The poem by Du Fu (712–770) reflects the major principle in Chinese culture: the dynasty might change, but the landscape is eternal. This timelessness theme evolved from Six Dynasties period and early Northern Song. A donkey rider travelling through the mountains, rivers and villages is studied as an important iconographical character in developing of landscape painting.
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1006:(the art of beautiful writing) to make ink paintings. From their time onward, many painters strove to freely express their feelings and to capture the inner spirit of their subject instead of describing its outward appearance. The small round paintings popular in the Southern Song were often collected into albums as poets would write poems along the side to match the theme and mood of the painting.
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and vague to match up with the court taste of that time. The painting reflects a slow pace and peaceful idyllic style of living. Located deeply in a village, the water mill is driven by the force of a huge, vertical waterwheel which is powered by a sluice gate. The artist seems to be ignorance towards hydraulic engineering since he only roughly drew out the mechanism of the whole process.
990:(420–589), painting had become an art of high sophistication that was associated with the gentry class as one of their main artistic pastimes, the others being calligraphy and poetry. During the Song dynasty there were avid art collectors that would often meet in groups to discuss their own paintings, as well as rate those of their colleagues and friends. The poet and statesman
459:(618–906) dynasties mainly painted the human figure. Much of what we know of early Chinese figure painting comes from burial sites, where paintings were preserved on silk banners, lacquered objects, and tomb walls. Many early tomb paintings were meant to protect the dead or help their souls to get to paradise. Others illustrated the teachings of the Chinese philosopher
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consolidate and extend the elites value across the society. Whereas
Southern Song painters decided to focus on personal expression. Northern Song landscapes are regarded as "real landscape", since the court appreciated the representation relationship between art and the external world, rather than the relationship between art and the artists inner voice. The painting,
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of society; their paintings often depicted huge, sweeping landscapes. During the
Northern Song, landscape paintings had political significance and were used by the court to emphasize its strength and authority with the symbolism of grand landscapes. The Northern Song court commissioned enormous landscapes which it used in support of its rites.
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but also his social status and political achievement. In emperor
Zhezong's lecture hall, a painting depicting stories form Zhou dynasty was hanging on the wall to remind Zhezong how to be a good ruler of the empire. The painting also serves the purpose of expressing his determination to his court officers that he is an enlightened emperor.
763:, used only black ink and freely painted brushstrokes to create ink paintings that were so exciting that crowds gathered to watch him work. From his time on, ink paintings were no longer thought to be preliminary sketches or outlines to be filled in with color. Instead, they were valued as finished works of art.
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During the Han dynasty, the mountains appeared in the design of the artworks shows the prevalence role of mountain in Han society. The emperor would climb on to the mountain to sacrifice and religion practice because mountains are thought to have connection between earth and heaven and can link human
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During Song dynasty, the xueshi yuan was modified and moved with the dynasty to the new capital
Hangzhou in 1127. The mural painted by Song artist Dong yu, closely followed the tradition of the Tang dynasty in depicting the misty sea surrounding the immortal mountains. The scenery on the walls of the
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The main walls of the government office, also called walls of the "Jade Hall," meaning the residence of the immortals in Taoism are decorated by decorative murals. Most educated and respected scholars were selected and given the title xueshi. They were divided into groups in helping the
Instituted of
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by Wang Ximeng, celebrates the imperial patronage and builds up a bridge that ties the later emperors, Huizong, Shenzong with their ancestors, Taizu and Taizong. The water mill in this painting, unlike that is painted in previous Shanghai scroll to be solid and weighted, it is painted to be ambiguous
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is a representation for the revolution of technology, economy, science, mechanical engineering and transportation in Song dynasty. It represents the government directly participate in the milling industry which can influence commercial activities. Another evidence that shows the government interfered
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Chinese painting continues to play an essential role in Chinese cultural expression. Starting in the mid-twentieth century, artists begin to combine traditional Chinese painting techniques with Western art styles, leading to the style of new contemporary Chinese art. One of the representative artists
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After Chinese economic reform, more and more artists boldly conducted innovations in Chinese painting. The innovations include: development of new brushing skill such as vertical direction splash water and ink, with representative artist Tiancheng Xie, creation of new style by integration traditional
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There was a significant difference in painting trends between the Northern Song period (960–1127) and Southern Song period (1127–1279). The paintings of Northern Song officials were influenced by their political ideals of bringing order to the world and tackling the largest issues affecting the whole
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writers often pursued the discovery of patterns and principles that they believed caused all social and natural phenomena. The painting of portraits and closely viewed objects like birds on branches were held in high esteem, but landscape painting was paramount. By the beginning of the Song dynasty a
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Chinese landscape painting, "shanshui hua" means the painting of mountains, rivers, and cliffs which are the two major components that represents the essence of the nature. Shanshui in Chinese tradition is given rich meaning, for example mountain represents Yang and river indicates Yin. According to
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In Chinese society, there is a long-time appreciation of natural beauty. The early themes of poems, artworks are associated with agriculture and everyday life associates with fields, animals. On the other hand, later Chinese painting pursuits majesty and grand. Thus, mountain scenery become the most
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During Song dynasty, paintings with themes ranging from animals, flower, landscape and classical stories, are used as ornaments in imperial palace, government office and elites' residence for multiple purposes. The theme of the art in display is carefully picked to reflect not only a personal taste,
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Following the Cultural Revolution, art schools and professional organizations were reinstated. Exchanges were set up with groups of foreign artists, and Chinese artists began to experiment with new subjects and techniques. One particular case of freehand style (xieyi hua) may be noted in the work of
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The Chinese are of all peoples the most skilful in crafts and attain the greatest perfection in them. This is well known and people have described it and spoken at length about it. No one, whether Greek or any other, rivals them in mastery of painting. They have prodigious facility in it. One of the
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During the Northern Song (960–1126 CE), a new class of scholar-artists emerged who did not possess the tromp l'œil skills of the academy painters nor even the proficiency of common marketplace painters. The literati's painting was simpler and at times quite unschooled, yet they would criticize these
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The Changjiang Wan Li Tu, although the date and the authorship are not clear, the painting is believed to be made in Song dynasty by examining the place names recorded on the painting. Only based on the name of this painting, it is hard to distinguish whether this painting is painted as a landscape
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by Li Cheng is assumed to be a portrait painting of Meng Haoran, "a tall and lanky man dressed in a scholar plain robe, riding on a small horse followed by a young servant." Except Meng Haoran, other famous people for example, Ruan Ji, one of the seven sages of the Bamboo Grove and Du Fu, a younger
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During the Three Kingdoms and Six Dynasties, landscape painting began to have connection with literati and the production of poems. Taoism influence on people's appreciation of landscaping deceased and nature worshipping superseded. However, Taoist still used landscape painting in their meditation
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Landscape painting evolved under the influence of Taoist who fled from civil turbulence and prosecution of the government and went back to the wilderness. However, the development of Taoism was hindered by Han dynasty. During Han dynasty, the empire expanded and enlarged its political and economic
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socialist realism was imported without modification, and painters were assigned subjects and expected to mass-produce paintings. Following the model of the Soviet Union, the early PRC endorsed historical oil painting and the state commissioned many artistic works in this style to represent the new
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complex at Dunhuang was discovered by Sir Aurel Stein, which contained a vast haul, mostly of Buddhist writings, but also some banners and paintings, making much the largest group of paintings on silk to survive. These are now in the British Museum and elsewhere. They are not of court quality, but
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It was also during this period when Chinese trade painters emerged. Taking advantage of British and other European traders in popular port cities such as Canton, these artists created works in the Western style particularly for Western traders. Known as Chinese export paintings, the trade thrived
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The Chinese landscape painting are believed to be affected by the intertwining Chinese traditional religious beliefs, for example, "the Taoist love of nature", and "Buddhist principle of emptiness," and can represent the diversification of artists attitudes and thoughts from previous period. The
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Although they were avid art collectors, some Song scholars did not readily appreciate artworks commissioned by those painters found at shops or common marketplaces, and some of the scholars even criticized artists from renowned schools and academies. Anthony J. Barbieri-Low, a professor of early
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in China were among the most highly appreciated arts in the court and they were often practiced by amateurs—aristocrats and scholar-officials—who had the leisure time necessary to perfect the technique and sensibility necessary for great brushwork. Calligraphy and painting were thought to be the
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is horizontally displayed and there are four mountain ranges arranged from left to right. Similar to another early Southern Song painter, Zhou Boju, both artists glorified their patrons by presenting the gigantic empire images in blue and green landscape painting. The only difference is that in
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Southern Song officials were more interested in reforming society from the bottom up and on a much smaller scale, a method they believed had a better chance for eventual success; their paintings often focused on smaller, visually closer, and more intimate scenes, while the background was often
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Chinese painting and calligraphy distinguish themselves from other cultures' arts by emphasis on motion and change with dynamic life. The practice is traditionally first learned by rote, in which the master shows the "right way" to draw items. The apprentice must copy these items strictly and
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should directly review the taste of the imperial taste of the landscape painting. Combining richness bright blue and turquoise pigments heritage from Tang dynasty with the vastness and solemn space and mountains from Northern Song, the scroll is a perfect representation of imperial power and
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Northern Song landscape painting differs from Southern Song painting because of its paradigm shift in representation. If Southern Song period landscape painting is said to be looking inward, Northern Song painting is reaching outward. During the Northern Song period, the rulers' goal is to
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There is a long tradition of having hidden meaning behind certain objects in Chinese paintings. A fan painting by an unknown artist from North Song period depicts three gibbons capturing baby egrets and scaring the parents away. The rebus behind this scene is interpreted as celebrating the
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Campaign asked painters to modernize the traditional style (which had historically been exclusive to China's ruling class) to portray the PRC's landscape. The traditional landscape form and techniques were largely retained, but new elements like the increased use of the color red and the
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had emerged. Artists mastered the formula of intricate and realistic scenes placed in the foreground, while the background retained qualities of vast and infinite space. Distant mountain peaks rise out of high clouds and mist, while streaming rivers run from afar into the foreground.
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contemporary of Meng are also depicted as donkey rider. Tang dynasty poets Jia Dao and Li He and early Song dynasty elites Pan Lang, Wang Anshi appears on the paintings as donkey rider. North Song poets Lin Bu and Su Shi are lately depicted as donkey rider. In this specific painting
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philosophy. Adherents to Neo-Confucianism focused on reforming society from the bottom up, not the top down, which can be seen in their efforts to promote small private academies during the Southern Song instead of the large state-controlled academies seen in the Northern Song era.
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Literature and were described as descending from the immortals. Xueshi are receiving high social status and doing carefree jobs. Lately, the xueshi yuan, the place where xueshi lives, became the permanent government institution that helped the emperor to make imperial decrees.
1807:, authorities promoted the Peasant Painting Movement, from which hundreds of thousands of new artists emerged. As part of this Movement, peasant artists decorated village walls with Great Leap Forward-themed murals. The Great Leap Forward also prompted a second wave of the New
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Painting during the Song dynasty (960–1279) reached a further development of landscape painting; immeasurable distances were conveyed through the use of blurred outlines, mountain contours disappearing into the mist, and impressionistic treatment of natural phenomena. The
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The most important development in landscape painting is that people came to recognize the infinity variation of the nature world, so they tended to make each tree individualized. Every landscape painting is restricted by storytelling and is dependent on artists memory.
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Beginning in the 13th century, the tradition of painting simple subjects—a branch with fruit, a few flowers, or one or two horses—developed. Narrative painting, with a wider color range and a much busier composition than Song paintings, was immensely popular during the
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continuously until the movements become instinctive. In contemporary times, debate emerged on the limits of this copyist tradition within modern art scenes where innovation is the rule. Changing lifestyles, tools, and colors are also influencing new waves of masters.
241:(工筆), meaning "meticulous", uses highly detailed brushstrokes that delimit details very precisely. It is often highly colored and usually depicts figural or narrative subjects. It is often practiced by artists working for the royal court or in independent workshops.
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popular subject to paint because it's high which represent human eminence. Also, mountain is stable and permanent suggests the eminent of the imperial power. Furthermore, mountain is difficult to climb showing the difficulties human will face through their lives.
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reflects the development in engineering and growing knowledge in hydrology. Furthermore, a water mill can also be used to identify a painting and used as a literature metaphor. Lately, the water mill transform into a symbolic form representing the imperial court.
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became art centers where wealthy merchant-patrons encouraged artists to produce bold new works. However, similar to the phenomenon of key lineages producing, many well-known artists came from established artistic families. Such families were concentrated in the
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Zhou's painting, there are five mountain ranges arranged from right to left. The scenes in the Southern Song paintings are about north landscape that echo the memory of their lost north territory. However, ironically, some scholars suggested that Wang Ximeng's
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Campaign in which the state commissioned landscape artists to paint new production projects; select paintings of the campaign were taught in schools, published widely as propaganda posters, exhibited in museums, and used as the backdrops of state events.
802:, though the most important, at Nara, was very largely destroyed in a fire in 1949. The rock-cut cave complexes and royal tombs also contain many wall-paintings. Court painting mostly survives in what are certainly or arguably copies from much later.
1615:(1644–1911), painters known as Individualists rebelled against many of the traditional rules of painting and found ways to express themselves more directly through free brushwork. In the 18th and 19th centuries, great commercial cities such as
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295:, and other artists painted the rolling hills and rivers of their native countryside in peaceful scenes done with softer, rubbed brushwork. These two kinds of scenes and techniques became the classical styles of Chinese landscape painting.
1169:(1271–1368), painters joined the arts of painting, poetry, and calligraphy by inscribing poems on their paintings. These three arts worked together to express the artist's feelings more completely than one art could do alone. Yuan emperor
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was regarded as the highest form of Chinese painting, and generally still is. The time from the Five Dynasties period to the Northern Song period (907–1127) is known as the "Great age of Chinese landscape". In the north, artists such as
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The Shu Chuan Shenggai was once thought as the product done by North Song artist Li Gonglin, however, later evidence disapproved this thought and proposed the date should be changed to the end of South Song and artist remains unknown.
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Both those paintings, aiming to enhance viewers appreciation on the beauty and majesty of landscape painting, focusing on the light condition and conveying certain attitude, are characterized as masterpiece of art rather than map.
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1683:(1521–1567 AD), shows the emperor traveling on horseback with a large escort through the countryside from Beijing's Imperial City to the Ming dynasty tombs. Beginning with Yongle, thirteen Ming emperors were buried in the
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painting, which indicates paintings of Chinese architectural objects such as buildings, boats, wheels and vehicles, towards landscape paintings. Intertwining with the imperial landscape painting, water mill, an element of
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678:"Bone Method", or the way of using the brush, refers not only to texture and brush stroke, but to the close link between handwriting and personality. In his day, the art of calligraphy was inseparable from painting.
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The earliest paintings were not representational but ornamental; they consisted of patterns or designs rather than pictures. Early pottery was painted with spirals, zigzags, dots, or animals. It was only during the
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During Tang dynasty reign of Emperor Xianzong (805–820), the west wall of the xueshi yuan was covered by murals depicting dragon-like mountain scene. In 820–822, immortal animals like Mount Ao, flying cranes, and
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for example, "the dyad of the mountain uplift, subduction, and erosion and the planetary water cycle" is consistent with the dyad of Buddhism iconography, both representing austerity and generous loving spirit.
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Along with these developments in professional art circles, there was a proliferation of peasant art depicting everyday life in the rural areas on wall murals and in open-air painting exhibitions. During the
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styles; the scales of such paintings were often huge, with minuscule yet intricate pastoralist subjects showing the relative enormity of the landscape. Zoom into the left to see a group of men engaging in
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depicted the splendor of court life in paintings of emperors, palace ladies, and imperial horses. Figure painting reached the height of elegant realism in the art of the court of Southern Tang (937–975).
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998:(1051–1107) often partook in these affairs, borrowing art pieces to study and copy, or if they really admired a piece then an exchange was often proposed. They created a new kind of art based upon the
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474:. Even when these artists illustrated Confucian moral themes – such as the proper behavior of a wife to her husband or of children to their parents – they tried to make the figures graceful.
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The first books illustrated with colored woodcuts appeared around this time; as color-printing techniques were perfected, illustrated manuals on the art of painting began to be published.
675:"Spirit Resonance", or vitality, which refers to the flow of energy that encompasses theme, work, and artist. Xie He said that without Spirit Resonance, there was no need to look further.
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Furthermore, in Buddhism, the mountain also has an important role in religious practice. From an iconographical point of view, a Buddha's image is used in helping a believer to practice
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depicted as bereft of detail as a realm without concern for the artist or viewer. This change in attitude from one era to the next stemmed largely from the rising influence of
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A considerable amount of literary and documentary information about Tang painting has survived, but very few works, especially of the highest quality. A walled-up cave in the
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Sickman, Laurence, in: Sickman L & Soper A, "The Art and Architecture of China", Pelican History of Art, 3rd ed 1971, Penguin (now Yale History of Art), LOC 70-125675
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215:; oils are not used. As with calligraphy, the most popular materials on which paintings are made are paper and silk. The finished work can be mounted on scrolls, such as
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period (220–589), people began to appreciate painting for its own beauty and to write about art. From this time we begin to learn about individual artists, such as
1819:, art schools were closed, and publication of art journals and major art exhibitions ceased. Major destruction was also carried out as part of the elimination of
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1659:. Some artists who studied in Europe rejected Chinese painting; others tried to combine the best of both traditions. Among the most beloved modern painters was
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Between two cultures : late-nineteenth- and twentieth-century Chinese paintings from the Robert H. Ellsworth collection in The Metropolitan Museum of Art
179:), meaning "national painting" or "native painting", as opposed to Western styles of art which became popular in China in the 20th century. It is also called
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style painting—"shan" meaning mountain, and "shui" meaning river—became prominent in Chinese landscape art. The emphasis laid upon landscape was grounded in
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671:: Gǔhuà Pǐnlù). Keep in mind that this was written circa 550 CE and refers to "old" and "ancient" practices. The six elements that define a painting are:
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1029:, points out that Song scholars' appreciation of art created by their peers was not extended to those who made a living simply as professional artists:
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Yin Yang theory, Yin embodies Yang and Yang involved in Yin, thus, mountain and river is inseparable and is treated as a whole in a painting. In the
2018:, as the love poem emerged, the images associated with those love stories were made as attractive as possible to meet the taste of the male viewers.
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Most of the Tang artists outlined figures with fine black lines and used brilliant color and elaborate detail. However, one Tang artist, the master
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2062:. This piece shows a scene of deep and serene mountain valley covered with snow and several old trees struggling to survive on precipitous cliffs.
1771:
nation by depicting major battles and other events leading the country's proclamation. In this period, critics took a negative stance towards the
1524:
Early Qing works preserved the styles and sensibilities of Ming art, some even implied a nostalgic longing for the days of native rule before the
287:
painted pictures of towering mountains, using strong black lines, ink wash, and sharp, dotted brushstrokes to suggest rough stone. In the south,
571:
870:
263:, though in fact the careers of leading exponents could benefit considerably. This style is also referred to as "xieyi" (寫意) or freehand style.
426:
2042:
1756:
1048:
821:
798:
show a variety of styles, including those with influences from further west. As with sculpture, other survivals showing Tang style are in
1215:
833:(c.730–800) is renowned for his paintings of contemporary court ladies, whose opulent figures reflected the beauty standards of the day.
1840:(born 1975) who started painting at age 3 and has since considerably contributed to the exercise of the style in contemporary artwork.
1264:
3117:
Hu, Bangbo (June 2000). "Art as Maps: Influence of Cartography on Two Chinese Landscape Paintings of the Song Dynasty (960–1279 CE)".
2011:
that captured women's elegance and pretty faces. However, women were still being depicted as submissive and ideal within male system.
1458:
The Knickknack Peddler by Su Hanchen; depictions of common life became a popular motif during the prosperous years of the Song dynasty
251:(水墨, "water and ink") also loosely termed watercolor or brush painting, and also known as "literati painting", as it was one of the "
1869:
is Wei Dong who drew inspirations from eastern and western sources to express national pride and arrive at personal actualization.
1153:
159:) is one of the oldest continuous artistic traditions in the world. Painting in the traditional style is known today in Chinese as
3214:
3190:
2588:
Lan Qiuyang 兰秋阳; Xing Haiping 邢海萍 (2009), "清代绘画世家及其家学考略" [The aristocratic art families of the Qing and their learning],
1344:
1026:
1882:
As the landscape painting rose and became the dominant style in North Song dynasty, artists began to shift their attention from
1794:
campaigns began to promote the re-adoption of traditional art styles as suitable for depicting modern social relations. The New
1676:
3276:
Straddling East and West: Lin Yutang, a modern literatus: the Lin Yutang family collection of Chinese painting and calligraphy
3378:
3305:
2650:
1403:
3074:
Hunt, Anthony (1999). "Singing The Dyads: The Chinese Landscape Scroll and Gary Snyder's Mountains and Rivers Without End".
1719:, Chinese artists started to adopt using Western techniques. Prominent Chinese artists who studied Western painting include
1038:
However, during the Song period, there were many acclaimed court painters and they were highly esteemed by emperors and the
1860:
colors, showed influences of both Western and traditional Chinese sources, though the paintings were organic abstractions.
1589:, a five-volume work first published in 1679, has been in use as a technical textbook for artists and students ever since.
259:
class. In theory this was an art practiced by gentlemen, a distinction that begins to be made in writings on art from the
591:
301:
3334:
3262:
656:
650:
663:, a writer, art historian and critic in 5th century China, in "Six points to consider when judging a painting" (繪畫六法,
3284:
3174:
2623:
2509:
2307:
2007:, artists slowly began to appreciate the beauty of a woman's body (shinu). Artist Zhang Xuan produced painting named
1663:, who began life as a poor peasant and became a great master. His best-known works depict flowers and small animals.
1222:
308:
17:
2740:
Liu, Heping (December 2002). ""The Water Mill" and Northern Song Imperial Patronage of Art, Commerce, and Science".
605:
2318:
1058:
987:
435:
1543:
1418:
339:
172:
142:
63:
667:: Huìhuà Liùfǎ), taken from the preface to his book "The Record of the Classification of Old Painters" (古畫品錄;
3274:
2722:
2333:
1104:(1094–1172); depictions of common life became a popular motif during the prosperous years of the Song Dynasty
875:
690:"Transmission by Copying", or the copying of models, not from life only but also from the works of antiquity.
164:
134:
77:
3344:
3238:
2700:
2266:
1823:
campaign. During the Cultural Revolution, the spread of peasant paintings in rural China became one of the
1559:
1525:
2877:
Jang, Scarlett (1992). "Realm of the Immortals: Paintings Decorating the Jade Hall of the Northern Song".
387:(770–256 BC) that artists began to represent the world around them. In imperial times (beginning with the
2000:
by Ku Kai Zhi, a six Dynasty artist, depicted woman characters who may be a wife, a daughter or a widow.
1142:
901:
1596:(1368–1644) continued the traditions of the Yuan scholar-painters. This group of painters, known as the
1550:
1326:
618:
3408:
3534:
3371:
2834:
Sturman, Peter C. (1995). "The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting".
2615:
2493:
687:"Division and Planning", or placing and arrangement, corresponding to composition, space, and depth.
2328:
2271:
2251:
2241:
2117:. For instance, Buddha's reflection image, or shadow, is assimilated with the image of a mountain,
1824:
1779:
966:
830:
752:
343:
2783:
Bai, Qianshen (January 1999). "Image as Word: A Study of Rebus Play in Song Painting (960–1279)".
893:
1279:
1245:
depicting plum, pine and bamboo, still used for decoration during new year's by countries in the
1242:
1225:
1090:
used strong black brushstrokes to sketch trees and rocks and pale washes to suggest misty space.
1053:
642:
1122:
3544:
2106:
1988:
Female characters are almost excluded from traditional Chinese painting under the influence of
487:
1799:
incorporation of modern vehicles and cable lines were intended to convey socialist modernity.
1782:
of 1956–57, traditional Chinese painting experienced a significant revival. By the mid-1950s,
705:
3468:
3463:
2323:
1912:
painted by Wang Ximeng, a court artist taught directly by Huizong himself. Thus, the artwork
1845:
1783:
1605:
1593:
1495:
919:
787:
782:
700:
681:"Correspondence to the Object", or the depicting of form, which would include shape and line.
244:
208:
2988:
Shaw, Miranda (April 1988). "Buddhist and Taoist Influences on Chinese Landscape Painting".
3539:
3398:
3364:
2281:
1716:
1173:(r. 1328, 1329–1332) was fond of Chinese painting and became a creditable painter himself.
638:
370:
47:
2642:
Revolution and counterrevolution : China's continuing class struggle since liberation
1643:
8:
3413:
2286:
2261:
2133:
Landscape paintings often depicted the exotic and fantastical mountains of southern China
1816:
1791:
1656:
927:
498:
388:
204:
3318:
3119:
Cartographica: The International Journal for Geographic Information and Geovisualization
1896:
with the commercial is a wineshop that appears beside the water mill. The water mill in
1113:
941:, by Emperor Huizong depicting a scene on top of Kaifeng city gate on 16th January 1112.
732:
3498:
3428:
3323:
3251:
3099:
3056:
3013:
2929:
2886:
2859:
2816:
2808:
2765:
1804:
1688:
1584:
953:
790:) but rather to grasp an emotion or atmosphere, as if catching the "rhythm" of nature.
276:
267:
684:"Suitability to Type", or the application of color, including layers, value, and tone.
3493:
3483:
3433:
3280:
3258:
3170:
3134:
3103:
3091:
3048:
3005:
2970:
2921:
2851:
2820:
2800:
2757:
2656:
2646:
2619:
2505:
2312:
2291:
1763:
1350:
1083:
1020:
paintings by Emperor Huizong had a profound impact on many contemporaries and beyond.
999:
3488:
3453:
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3126:
3083:
3040:
2997:
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2843:
2792:
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1655:
In the late 19th and 20th centuries, Chinese painters were increasingly exposed to
1336:
1093:
979:
961:
256:
186:
100:
42:
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painting, though, is still used as an imperial symbol. Water mill depicted in the
1701:
3340:
2296:
1857:
1680:
660:
502:
292:
212:
3312:
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960:
stressed that humans were but tiny specks in the vast and greater cosmos, while
3508:
3448:
3438:
3350:
3162:
2301:
2226:
1849:
1042:. One of the greatest landscape painters given patronage by the Song court was
923:
922:(1127–1279); albums of small leaf paintings like this were popular amongst the
228:
216:
2660:
1755:
organized networks of cultural workers' associations which were headed by the
3528:
3138:
3095:
3052:
3009:
2974:
2925:
2855:
2804:
2761:
2218:
1571:
880:
767:
467:
357:
908:
3443:
2640:
2204:
2046:
2015:
2004:
1989:
1767:
1732:
1724:
1633:
1612:
1567:
1485:
1166:
1056:(1127–1162) once commissioned an art project of numerous paintings for the
1043:
1039:
748:
632:
562:
456:
384:
260:
107:
54:
3087:
2501:
1679:
The panorama painting "Departure Herald", painted during the reign of the
3473:
3387:
2904:
Fong, Mary H. (1996). "Images of Women in Traditional Chinese Painting".
2246:
2232:
1993:
1736:
1183:
1067:
1003:
794:
582:
578:
452:
441:
405:
392:
224:
3351:
Gazing Into The Past – Scenes From Later Chinese & Japanese Painting
3060:
3017:
2933:
2890:
2863:
2812:
2769:
2114:
1787:
1728:
1684:
1563:
1443:
1246:
1170:
1101:
1052:
scroll, one of the most well-known masterpieces of Chinese visual art.
777:
627:
401:
220:
2566:, "Gibbon in China. An essay in Chinese Animal Lore". The Hague, 1967.
2129:
1082:. During the Southern Song period (1127–1279), court painters such as
786:), the purpose was not to reproduce the appearance of nature exactly (
3031:
Soper, Alexander C. (June 1941). "Early Chinese Landscape Painting".
2612:
Revolutionary Becomings: Documentary Media in Twentieth-Century China
2027:
1837:
1820:
1790:
was increasingly eager for China to establish its own national path.
1740:
1660:
1601:
1597:
1555:
1133:
1071:
1063:
948:
852:
772:
737:
624:
494:
471:
460:
397:
352:
348:
312:
288:
252:
3341:
A Pure and Remote View: Visualizing Early Chinese Landscape Painting
3044:
3001:
2917:
2847:
2796:
2753:
497:(348–405), British Museum; heavily damaged after it was looted by a
203:). Traditional painting involves essentially the same techniques as
1720:
1709:
1625:
1620:
1616:
1575:
1332:
1299:
1298:; it has a circular shape because this was initially painted for a
1009:
760:
741:
725:
597:
546:
280:
272:
3213:, vol. 10, Centered on Taipei, pp. 18–21, archived from
2667:
1074:
achieved a high degree of realism painting animals, in particular
3513:
3478:
3403:
3189:, vol. 10, Centered on Taipei, pp. 8–11, archived from
2256:
1853:
1762:
In the early years of the PRC, artists were encouraged to employ
1637:
1629:
1428:
1087:
913:
751:, figure painting flourished at the royal court. Artists such as
717:
710:
420:
181:
2097:
888:
609:
Mural of chariots and cavalry from Dahuting tomb, 2nd century AD
223:. Traditional painting can also be done on album sheets, walls,
3423:
3300:
2587:
2276:
2118:
2059:
1888:
1883:
1539:
1163:
1079:
1075:
1017:
991:
957:
934:
668:
664:
375:
284:
238:
194:
150:
3356:
2054:
408:. In ancient times, writing, as well as painting, was done on
2645:(2nd ed.). Paris: Foreign languages press. p. 137.
1778:
This regimen was considerably relaxed in 1953, and after the
1318:
995:
799:
3329:
1263:. Extremely intricate details give historians insight into
409:
351:(932–962). Dong is considered as one of the originators of
2550:
2548:
1751:
After the founding of the People's Republic of China, the
2430:
Barnhart, "Three Thousand Years of Chinese Painting", 93.
1992:. Dong Zhongshu, an influential Confucian scholar in the
694:
1608:, revived and transformed the styles of the Song court.
521:
Fresco of Confucius from the Western Han (202 BC – 9 AD)
2545:
776:(山水, "mountain water") paintings. In these landscapes,
2449:
2447:
2445:
2378:
2376:
1971:
1929:
Emperor Huizong personally painted a painting called
112:
2949:"Paradigm Shift in Chinese Landscape Representation"
2194:
2045:
A timeline of Chinese landscape painting from early
1647:
A View of Henan Island (Honam), Canton, Qing dynasty
3157:
The Travels of Ibn Battuta, AD 1325–1354, Volume IV
2675:"【社团风采】——"天堂画派"艺术家作品选刊("书法报·书画天地",2015年第2期第26–27版)"
2569:
2442:
2389:
2373:
2066:
766:Beginning in the Tang dynasty, many paintings were
3250:
2402:
1872:
1463:
2315:– integration of calligraphy, poetry and painting
2084:
234:The two main techniques in Chinese painting are:
3526:
2590:Heibei Beifang Xueyuan Xuebao (Shehui Kexue Ban)
1844:Chinese and Western painting techniques such as
1442:"One Hundred Children Playing in the Spring" by
1384:Dancing and Singing Peasants Returning from Work
780:and sparse (a style that is collectively called
2081:depicts the scenes of the south not the north.
3203:
3179:
2396:
2383:
855:'s Thirteen Emperors; original, 7th century AD
3372:
3343:: a series of more than 20 video lectures by
2490:One and All: The Logic of Chinese Sovereignty
1558:, like many contemporaries of his during the
889:Song, Liao, Jin and Yuan dynasties (907–1368)
427:Silk painting depicting a man riding a dragon
396:purest forms of art. The implements were the
82:
68:
3353:: a series of video lecture by James Cahill.
3279:. New York: The Metropolitan Museum of Art.
3272:
3257:. New York: The Metropolitan Museum of Art.
2483:
1784:relations between China and the Soviet Union
1757:China Federation of Literary and Art Circles
1049:Along the River During the Qingming Festival
3319:Famous Chinese painters and their galleries
2527:
2481:
2479:
2477:
2475:
2473:
2471:
2469:
2467:
2465:
2463:
2124:
1863:
3379:
3365:
2632:
1604:. Another group of painters, known as the
1397:Architectural details of the previous work
3330:Cuiqixuan – Inside painting snuff bottles
3248:
3235:. New Haven: Yale University Press, 2002.
2964:
2536:
2433:
2415:
1956:
1016:, by Lin Liang (1424–1500). The prolific
3233:Three Thousand Years of Chinese Painting
3169:, 2007 (2nd edn), British Museum Press,
2605:
2603:
2460:
2128:
2096:
2079:A Thousand Miles of Rivers and Mountains
2074:A Thousand Miles of Rivers and Mountains
2053:
1914:A Thousand Miles of Rivers and Mountains
1910:A Thousand Miles of Rivers and Mountains
1905:A Thousand Miles of Rivers and Mountains
1700:
1642:
1549:
1533:
1154:Along the River During Qingming Festival
1092:
1008:
933:
907:
892:
731:
716:
704:
637:
617:
604:
533:Close-up on another scroll by Gu Kaizhi.
369:
2953:Comparative Literature: East & West
2833:
2723:"Modern & Contemporary Chinese Art"
2698:
2487:
1920:
1753:Communist Party's Propaganda Department
1482:Ten Thousand Miles of the Yangtze River
1027:University of California, Santa Barbara
879:, first painted in the 10th century in
736:Bodhisattva leading a patroness to the
14:
3527:
3167:The British Museum Book of Chinese Art
2455:Cambridge Illustrated History of China
2410:Cambridge Illustrated History of China
1046:(1085–1145), who painted the original
695:Sui, Tang and Five dynasties (581–979)
320:
3360:
3030:
2699:Goodman, Jonathan (August 13, 2013).
2638:
2600:
2167:
2021:
1628:region and produced painters such as
722:Sailing Boats and a Riverside Mansion
3154:
3073:
2987:
2946:
2903:
2876:
2609:
2575:
2361:Rawson, 114–119; Sickman, Chapter 15
1917:aesthetic taste of the aristocrats.
2782:
2739:
2581:
1936:
1827:celebrated in a socialist society.
1587:(Manual of the Mustard Seed Garden)
1002:in which they used their skills in
631:, by Zhang Shengwen, 1173–1176 CE,
444:silk painting of woman with phoenix
24:
3225:
3204:Stanley-Baker, Joan (June 2010b),
3116:
1983:
1696:
883:, later reproduced in 12th-century
657:Six principles of Chinese painting
651:Six principles of Chinese painting
25:
3556:
3294:
3180:Stanley-Baker, Joan (May 2010a),
2308:The Four Great Academy Presidents
2161:Mountains and rivers without end,
1944:The donkey rider in the painting
1856:, most well known for her use of
918:, by an anonymous painter of the
613:
561:Lacquer screens from the tomb of
3299:
2225:
2211:
2197:
2067:Paradigm shift in representation
2034:
1931:Birds in a blossom wax-plum tree
1668:
1514:
1505:
1470:
1451:
1435:
1417:
1402:
1390:
1376:
1361:
1343:
1325:
1307:
1287:
1272:
1253:
1235:
1214:
1192:
1141:
1132:
1121:
1112:
1098:Children Playing on a Winter Day
898:Buddhist Temple in the Mountains
862:
841:
820:
809:
590:
570:
554:
538:
526:
514:
479:
463:or showed scenes of daily life.
434:
419:
365:
331:
300:
41:
3494:Chinese traditional accessories
3386:
3231:Barnhart, Richard, et al., ed.
3110:
3067:
3024:
2990:Journal of the History of Ideas
2981:
2940:
2897:
2870:
2827:
2776:
2733:
2715:
2701:"Cai Jin: Return to the Source"
2692:
2557:
2518:
2319:Water and Land Ritual paintings
2175:The two examples in this case:
2009:palace women listening to music
1873:Iconography in Chinese painting
1570:. In his case, by creating the
1562:he spent much of his career in
1464:Late imperial China (1368–1895)
1059:Eighteen Songs of a Nomad Flute
994:(1037–1101) and his accomplice
988:Southern and Northern dynasties
2947:Duan, Lian (January 2, 2017).
2727:Williams College Museum of Art
2424:
2364:
2355:
2346:
2304:(also called Cantonese School)
2085:Buddhist and Taoist influences
1544:Water and Land Ritual painting
1261:Traveling on the River in Snow
645:by Zhao Mengjian, 13th century
199:
176:
168:
155:
146:
138:
113:
83:
69:
13:
1:
3245:. Geneva: Albert Skira, 1960.
3148:
2966:10.1080/25723618.2017.1339507
2334:List of Chinese women artists
1877:
1848:, with representative artist
1830:
1652:throughout the Qing dynasty.
1566:and left a huge influence on
1265:medieval Chinese shipbuilding
900:, 11th century, ink on silk,
876:The Night Revels of Han Xizai
3076:Journal of Modern Literature
2267:Eight Eccentrics of Yangzhou
1951:Travelers in a wintry forest
1946:Travelers in a wintry forest
1746:
1594:painters of the Ming dynasty
1066:(177–250 AD) of the earlier
7:
3131:10.3138/07l4-2754-514j-7r38
2785:Metropolitan Museum Journal
2554:Barbieri-Low (2007), 39–40.
2190:
1972:
1554:Early 18th century work by
1315:The Spring Tide Brings Rain
902:Nelson-Atkins Museum of Art
51:Almanac of Birds and Beasts
10:
3561:
3409:Chinese Buddhist sculpture
2025:
1410:Shrike on a tree in winter
1228:by Chen Rong (c.1200–1266)
1062:, based on the woman poet
724:, 7th century original by
698:
648:
3394:
3337:Fully online from the MMA
3269:Fully online from the MMA
2616:Columbia University Press
2494:Stanford University Press
904:, Kansas City (Missouri).
709:A Man Herding Horses, by
455:(206 BC – 220 AD) to the
400:made of animal hair, and
378:mural, c. 2nd century BCE
209:brush dipped in black ink
190:
124:
106:
99:
94:
90:
76:
62:
40:
36:
31:
2340:
2329:List of Chinese painters
2272:Eight Views of Xiaoxiang
2252:Chinese Piling paintings
2242:Bird-and-flower painting
2153:
2125:Early landscape painting
2103:Travels Through Mount Ji
2058:A landscape painting by
1864:Contemporary Chinese art
1786:were deteriorating, and
1780:Hundred Flowers Campaign
1600:, was led by the artist
404:made from pine soot and
64:Traditional Chinese
3253:Sung and Yuan paintings
1355:Banquet by the Lanterns
1280:Emperor Huizong of Song
1243:Three Friends of Winter
1226:Nine Dragons (painting)
1054:Emperor Gaozong of Song
1025:Chinese history at the
643:Three Friends of Winter
78:Simplified Chinese
3509:Chinese willow pattern
3449:Chinese Folding screen
3315:at China Online Museum
2639:Ching, Pao-Yu (2021).
2488:Laikwan, Pang (2024).
2179:painting or as a map.
2134:
2110:
2107:National Palace Museum
2063:
1957:Realm of the Immortals
1712:
1706:Portrait of Madame Liu
1648:
1579:
1547:
1282:was a prolific painter
1188:
1105:
1036:
1021:
942:
931:
905:
744:
740:. c. 7th century from
729:
714:
659:" were established by
646:
635:
610:
600:mural, mid-6th century
549:tomb, c.2nd century AD
379:
374:Western Han lacquered
3469:Chinese paper folding
3464:Chinese paper cutting
3308:at Wikimedia Commons
3273:Liu, Shi-yee (2007).
3196:on September 17, 2011
3155:Gibb, H.A.R. (2010),
3088:10.1353/jml.1999.0049
2502:10.1515/9781503638822
2132:
2100:
2057:
1846:Heaven Style painting
1704:
1646:
1553:
1537:
1175:
1096:
1031:
1012:
937:
930:of the Southern Song.
920:Southern Song dynasty
911:
896:
735:
720:
708:
701:Tang dynasty painting
699:Further information:
641:
621:
608:
373:
245:Ink and wash painting
3399:Chinese architecture
3326:Technique and styles
3306:Paintings from China
2282:History of Asian art
1921:Image as Word: Rebus
1717:New Culture Movement
1151:Various scenes from
499:British army officer
3414:Chinese calligraphy
2906:Woman's Art Journal
2610:Qian, Ying (2024).
2397:Stanley-Baker 2010b
2384:Stanley-Baker 2010a
2287:History of painting
2262:Eastern art history
2105:, 10th century AD;
1817:Cultural Revolution
1715:Beginning with the
1546:from Baoning Temple
916:and a Mountain Bird
545:Wall painting from
389:Eastern Jin dynasty
321:Specifics and study
231:, and other media.
207:and is done with a
173:traditional Chinese
143:traditional Chinese
3429:Chinese embroidery
3249:Fong, Wen (1973).
3207:Ink Painting Today
3183:Ink Painting Today
2168:Art as cartography
2135:
2111:
2064:
2049:to the present day
2022:Landscape painting
1836:the child prodigy
1805:Great Leap Forward
1713:
1689:Changping District
1649:
1585:Jieziyuan Huazhuan
1580:
1548:
1106:
1022:
954:Chinese philosophy
943:
932:
906:
745:
738:Western Pure Lands
730:
715:
647:
636:
611:
491:Admonitions Scroll
380:
358:seine-haul fishing
353:landscape painting
344:Views of Xiaoxiang
268:Landscape painting
165:simplified Chinese
135:simplified Chinese
3522:
3521:
3484:Chinese sculpture
3434:Chinese furniture
3304:Media related to
3220:on March 21, 2012
2652:978-2-491182-89-2
2313:Three perfections
2292:Japanese painting
1764:socialist realism
1611:During the early
1000:three perfections
939:Auspicious Cranes
928:scholar-officials
451:Artists from the
429:, 5th century BCE
255:" of the Chinese
213:coloured pigments
128:
127:
120:
119:
101:Standard Mandarin
57:, 10th century CE
18:Chinese paintings
16:(Redirected from
3552:
3535:Chinese painting
3499:Chinese umbrella
3459:Chinese painting
3454:Chinese knotting
3419:Chinese ceramics
3381:
3374:
3367:
3358:
3357:
3324:Chinese painting
3313:Chinese Painting
3303:
3290:
3268:
3256:
3243:Chinese Painting
3221:
3219:
3212:
3197:
3195:
3188:
3159:
3143:
3142:
3114:
3108:
3107:
3071:
3065:
3064:
3033:The Art Bulletin
3028:
3022:
3021:
2985:
2979:
2978:
2968:
2944:
2938:
2937:
2901:
2895:
2894:
2874:
2868:
2867:
2831:
2825:
2824:
2780:
2774:
2773:
2742:The Art Bulletin
2737:
2731:
2730:
2719:
2713:
2712:
2710:
2708:
2696:
2690:
2689:
2687:
2685:
2671:
2665:
2664:
2636:
2630:
2629:
2614:. New York, NY:
2607:
2598:
2597:
2585:
2579:
2573:
2567:
2564:Robert van Gulik
2561:
2555:
2552:
2543:
2540:
2534:
2531:
2525:
2522:
2516:
2515:
2492:. Stanford, CA:
2485:
2458:
2451:
2440:
2437:
2431:
2428:
2422:
2419:
2413:
2406:
2400:
2393:
2387:
2380:
2371:
2368:
2362:
2359:
2353:
2350:
2324:Wǔ Xíng painting
2235:
2230:
2229:
2221:
2216:
2215:
2214:
2207:
2202:
2201:
2200:
2038:
1975:
1937:The Donkey Rider
1775:painting style.
1672:
1518:
1509:
1474:
1455:
1439:
1421:
1406:
1394:
1380:
1365:
1347:
1329:
1311:
1296:Bird on a Branch
1291:
1276:
1257:
1239:
1218:
1196:
1186:
1145:
1136:
1125:
1116:
962:Neo-Confucianist
866:
845:
824:
813:
594:
585:, (535-556 A.D.)
574:
558:
542:
530:
518:
483:
438:
423:
391:), painting and
335:
311:Early Autumn by
304:
257:Scholar-official
201:
192:
178:
170:
157:
148:
140:
131:Chinese painting
116:
115:
92:
91:
86:
85:
72:
71:
45:
32:Chinese painting
29:
28:
21:
3560:
3559:
3555:
3554:
3553:
3551:
3550:
3549:
3525:
3524:
3523:
3518:
3504:Chinese symbols
3390:
3385:
3297:
3287:
3265:
3228:
3226:Further reading
3217:
3210:
3193:
3186:
3163:Rawson, Jessica
3151:
3146:
3115:
3111:
3072:
3068:
3045:10.2307/3046752
3029:
3025:
3002:10.2307/2709496
2986:
2982:
2945:
2941:
2918:10.2307/1358525
2902:
2898:
2875:
2871:
2848:10.2307/3249762
2832:
2828:
2797:10.2307/1513046
2781:
2777:
2754:10.2307/3177285
2738:
2734:
2721:
2720:
2716:
2706:
2704:
2703:. Brooklyn Rail
2697:
2693:
2683:
2681:
2673:
2672:
2668:
2653:
2637:
2633:
2626:
2618:. p. 167.
2608:
2601:
2586:
2582:
2574:
2570:
2562:
2558:
2553:
2546:
2541:
2537:
2532:
2528:
2523:
2519:
2512:
2486:
2461:
2452:
2443:
2438:
2434:
2429:
2425:
2420:
2416:
2407:
2403:
2394:
2390:
2381:
2374:
2369:
2365:
2360:
2356:
2351:
2347:
2343:
2338:
2297:Korean painting
2231:
2224:
2217:
2212:
2210:
2203:
2198:
2196:
2193:
2170:
2156:
2127:
2087:
2069:
2052:
2051:
2050:
2044:
2039:
2030:
2024:
1998:Exemplary Women
1986:
1984:Images of women
1959:
1939:
1923:
1898:Shanghai Scroll
1880:
1875:
1866:
1833:
1749:
1699:
1697:Modern painting
1694:
1693:
1692:
1687:of present-day
1681:Jiajing Emperor
1678:
1673:
1532:
1531:
1530:
1529:
1526:Manchu conquest
1521:
1520:
1519:
1511:
1510:
1491:
1490:
1489:
1480:
1475:
1466:
1459:
1456:
1447:
1440:
1431:
1425:Wintry Sparrows
1422:
1413:
1407:
1398:
1395:
1386:
1381:
1372:
1366:
1357:
1348:
1339:
1330:
1321:
1312:
1303:
1292:
1283:
1277:
1268:
1258:
1249:
1240:
1231:
1230:
1229:
1224:
1219:
1210:
1209:
1208:
1207:, 13th century.
1202:
1197:
1187:
1182:
1160:
1159:
1158:
1157:
1148:
1147:
1146:
1138:
1137:
1128:
1127:
1126:
1118:
1117:
986:Ever since the
967:landscape style
891:
886:
885:
884:
873:Full scroll of
872:
867:
858:
857:
856:
851:
846:
837:
836:
835:
834:
827:
826:
825:
816:
815:
814:
703:
697:
653:
616:
601:
595:
586:
577:Mural from the
575:
566:
559:
550:
543:
534:
531:
522:
519:
507:
506:
505:
503:Boxer Rebellion
489:
484:
449:
448:
447:
446:
445:
439:
431:
430:
424:
368:
363:
362:
361:
341:
336:
323:
318:
317:
316:
310:
305:
229:folding screens
217:hanging scrolls
58:
23:
22:
15:
12:
11:
5:
3558:
3548:
3547:
3542:
3537:
3520:
3519:
3517:
3516:
3511:
3506:
3501:
3496:
3491:
3486:
3481:
3476:
3471:
3466:
3461:
3456:
3451:
3446:
3441:
3439:Chinese garden
3436:
3431:
3426:
3424:Chinese comics
3421:
3416:
3411:
3406:
3404:Chinese column
3401:
3395:
3392:
3391:
3384:
3383:
3376:
3369:
3361:
3355:
3354:
3348:
3338:
3332:
3327:
3321:
3316:
3296:
3295:External links
3293:
3292:
3291:
3285:
3270:
3264:978-0870990847
3263:
3246:
3236:
3227:
3224:
3223:
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3198:
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3147:
3145:
3144:
3109:
3066:
3039:(2): 141–164.
3023:
2996:(2): 183–206.
2980:
2939:
2896:
2879:Ars Orientalis
2869:
2842:(1/2): 43–97.
2826:
2775:
2748:(4): 566–595.
2732:
2714:
2691:
2666:
2651:
2631:
2624:
2599:
2592:(in Chinese),
2580:
2578:, p. 892.
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2305:
2302:Lingnan School
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2123:
2086:
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2041:
2040:
2033:
2032:
2031:
2026:Main article:
2023:
2020:
1985:
1982:
1958:
1955:
1938:
1935:
1922:
1919:
1879:
1876:
1874:
1871:
1865:
1862:
1850:Shaoqiang Chen
1832:
1829:
1825:newborn things
1748:
1745:
1698:
1695:
1675:
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649:Main article:
615:
614:Six principles
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265:
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126:
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103:
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96:
95:Transcriptions
88:
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38:
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34:
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6:
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3557:
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3545:Arts in China
3543:
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3333:
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3328:
3325:
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3317:
3314:
3311:
3310:
3309:
3307:
3302:
3288:
3286:9781588392701
3282:
3278:
3277:
3271:
3266:
3260:
3255:
3254:
3247:
3244:
3240:
3239:Cahill, James
3237:
3234:
3230:
3229:
3216:
3209:
3208:
3202:
3199:
3192:
3185:
3184:
3178:
3176:
3175:9780714124469
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3153:
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3007:
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2999:
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2959:(1): 96–113.
2958:
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2884:
2880:
2873:
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2861:
2857:
2853:
2849:
2845:
2841:
2837:
2836:Artibus Asiae
2830:
2822:
2818:
2814:
2810:
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2798:
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2779:
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2625:9780231204477
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2604:
2595:
2591:
2584:
2577:
2572:
2565:
2560:
2551:
2549:
2539:
2533:Ebrey, 81–83.
2530:
2521:
2513:
2511:9781503638815
2507:
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2255:
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2250:
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2239:
2234:
2228:
2223:
2220:
2219:Taiwan portal
2209:
2206:
2195:
2188:
2184:
2180:
2176:
2173:
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2151:
2147:
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2017:
2012:
2010:
2006:
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1995:
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1963:
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1573:
1572:Nanpin school
1569:
1565:
1561:
1557:
1552:
1545:
1541:
1536:
1527:
1517:
1508:
1499:
1498:(1368–1644).
1497:
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1473:
1454:
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1297:
1294:Li Anzhong's
1290:
1285:
1281:
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1266:
1262:
1256:
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1238:
1233:
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1205:Eight Flowers
1201:
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1035:
1030:
1028:
1019:
1015:
1011:
1007:
1005:
1001:
997:
993:
989:
984:
981:
980:Neo-Confucian
975:
971:
968:
963:
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955:
951:
950:
940:
936:
929:
925:
921:
917:
915:
910:
903:
899:
895:
882:
881:Southern Tang
878:
877:
871:
865:
854:
850:
844:
832:
823:
812:
803:
801:
796:
791:
789:
785:
784:
779:
778:monochromatic
775:
774:
769:
764:
762:
757:
754:
750:
743:
739:
734:
727:
723:
719:
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468:Six Dynasties
464:
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454:
443:
437:
428:
422:
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407:
403:
399:
394:
390:
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372:
366:Early periods
359:
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327:
314:
309:
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296:
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247:, in Chinese
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35:
30:
27:
19:
3489:Chinese seal
3458:
3444:Chinese jade
3345:James Cahill
3298:
3275:
3252:
3242:
3232:
3215:the original
3206:
3191:the original
3182:
3166:
3156:
3125:(2): 43–56.
3122:
3118:
3112:
3079:
3075:
3069:
3036:
3032:
3026:
2993:
2989:
2983:
2956:
2952:
2942:
2912:(1): 22–27.
2909:
2905:
2899:
2882:
2878:
2872:
2839:
2835:
2829:
2788:
2784:
2778:
2745:
2741:
2735:
2726:
2717:
2705:. Retrieved
2694:
2682:. Retrieved
2678:
2669:
2641:
2634:
2611:
2593:
2589:
2583:
2571:
2559:
2538:
2529:
2524:Walton, 199.
2520:
2489:
2454:
2439:Morton, 105.
2435:
2426:
2421:Morton, 104.
2417:
2409:
2404:
2391:
2366:
2357:
2352:Sickman, 222
2348:
2205:China portal
2185:
2181:
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2144:
2140:
2136:
2112:
2102:
2092:
2088:
2078:
2073:
2070:
2016:Song dynasty
2013:
2008:
2005:Tang dynasty
2002:
1997:
1990:Confucianism
1987:
1978:
1968:
1964:
1960:
1950:
1945:
1943:
1940:
1930:
1928:
1924:
1913:
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1834:
1814:
1808:
1801:
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1768:Soviet Union
1761:
1750:
1733:Lin Fengmian
1725:Yan Wenliang
1714:
1705:
1654:
1650:
1634:Jiang Tingxi
1613:Qing dynasty
1610:
1591:
1583:
1581:
1568:Japanese art
1492:
1486:Ming dynasty
1481:
1424:
1409:
1383:
1368:
1354:
1335:painting by
1333:Circular-fan
1314:
1300:circular fan
1295:
1260:
1204:
1203:Qian Xuan's
1176:
1167:Yuan dynasty
1161:
1152:
1097:
1057:
1047:
1044:Zhang Zeduan
1040:royal family
1037:
1032:
1023:
1013:
985:
976:
972:
965:distinctive
947:
944:
938:
912:
897:
874:
792:
781:
771:
765:
758:
749:Tang dynasty
746:
721:
713:(706–783 AD)
654:
633:Song dynasty
622:
563:Sima Jinlong
508:
490:
465:
450:
385:Eastern Zhou
381:
342:
324:
266:
261:Song dynasty
248:
233:
198:
180:
160:
156:Zhōngguó huà
154:
130:
129:
114:Zhōngguó huà
108:Hanyu Pinyin
50:
48:Huang Quan's
26:
3540:Chinese art
3474:Chinoiserie
3388:Chinese art
3082:(1): 7–34.
2684:October 31,
2542:Ebrey, 163.
2370:Rawson, 112
2247:Chinese art
2233:Arts portal
2101:Fan Kuan's
2014:During the
2003:During the
1994:Han dynasty
1858:psychedelic
1815:During the
1737:Fang Ganmin
1657:Western art
1496:Ming period
1488:(1368–1644)
1412:; 1187 AD.
1184:Ibn Battuta
1162:During the
1068:Han dynasty
1004:calligraphy
795:Mogao Caves
747:During the
583:Western Wei
579:Mogao caves
501:during the
466:During the
442:Chu (state)
406:animal glue
393:calligraphy
315:(1235–1305)
225:lacquerware
221:handscrolls
205:calligraphy
3529:Categories
3149:References
2661:1325647379
2596:(3): 24–26
2115:meditation
1893:Water Mill
1878:Water Mill
1831:Since 1978
1792:Propaganda
1788:Mao Zedong
1729:Xu Beihong
1685:Ming Tombs
1606:Zhe School
1560:early Qing
1444:Su Hanchen
1371:by Ma Yuan
1247:sinosphere
1171:Tugh Temur
1102:Su Hanchen
768:landscapes
402:black inks
3139:0317-7173
3104:161806483
3096:1529-1464
3053:0004-3079
3010:0022-5037
2975:2572-3618
2926:0270-7993
2885:: 81–96.
2856:0004-3648
2821:194029919
2805:0077-8958
2791:: 57–12.
2762:0004-3079
2576:Gibb 2010
2028:Shan shui
1838:Wang Yani
1821:Four Olds
1747:Early PRC
1741:Liu Haisu
1661:Qi Baishi
1602:Shen Zhou
1598:Wu School
1556:Shen Quan
1369:Snowscape
1072:Yi Yuanji
1064:Cai Wenji
949:shan shui
853:Yan Liben
831:Zhou Fang
783:shuimohua
753:Zhou Fang
625:Sakyamuni
565:(420–484)
495:Gu Kaizhi
472:Gu Kaizhi
461:Confucius
398:brush pen
349:Dong Yuan
313:Qian Xuan
289:Dong Yuan
253:four arts
55:Late Tang
2707:March 7,
2191:See also
2109:, Taipei
1721:Li Tiefu
1710:Li Tiefu
1626:Jiangnan
1621:Shanghai
1617:Yangzhou
1576:Nagasaki
1181:—
773:shanshui
770:, often
761:Wu Daozi
742:Dunhuang
726:Li Sixun
598:Dunhuang
547:Dahuting
281:Fan Kuan
277:Li Cheng
273:Jing Hao
200:dān qīng
3514:Gongshi
3479:Penjing
3061:3046752
3018:2709496
2934:1358525
2891:4629426
2864:3249762
2813:1513046
2770:3177285
2453:Ebrey,
2408:Ebrey,
2257:Danqing
1973:xianqin
1854:Cai Jin
1766:. Some
1708:(1942)
1638:Yun Zhu
1630:Ma Quan
1540:Luohans
1429:Cui Bai
1351:Ma Yuan
1088:Xia Gui
1084:Ma Yuan
1080:gibbons
1076:monkeys
914:Loquats
788:realism
711:Han Gan
249:shuǐ-mò
187:Chinese
182:danqing
161:guó huà
3283:
3261:
3173:
3165:(ed).
3137:
3102:
3094:
3059:
3051:
3016:
3008:
2973:
2932:
2924:
2889:
2862:
2854:
2819:
2811:
2803:
2768:
2760:
2679:qq.com
2659:
2649:
2622:
2508:
2457:, 163.
2412:, 162.
2277:Gongbi
2119:Lushan
2060:Guo Xi
1889:jiehua
1884:jiehua
1809:Guohua
1796:Guohua
1773:guohua
1636:, and
1337:Ma Lin
1164:Mongol
1018:gongbi
1014:Eagles
992:Su Shi
958:Taoism
924:gentry
669:Pinyin
665:Pinyin
661:Xie He
628:Buddha
376:dragon
285:Guo Xi
283:, and
239:Gongbi
197::
195:pinyin
189::
175::
167::
153::
151:pinyin
145::
137::
3218:(PDF)
3211:(PDF)
3194:(PDF)
3187:(PDF)
3100:S2CID
3057:JSTOR
3014:JSTOR
2930:JSTOR
2887:JSTOR
2860:JSTOR
2817:S2CID
2809:JSTOR
2766:JSTOR
2341:Notes
2154:Dyads
1592:Some
1564:Japan
1319:Li Di
996:Mi Fu
800:Japan
655:The "
293:Juran
3281:ISBN
3259:ISBN
3171:ISBN
3135:ISSN
3092:ISSN
3049:ISSN
3006:ISSN
2971:ISSN
2922:ISSN
2852:ISSN
2801:ISSN
2758:ISSN
2709:2015
2686:2015
2657:OCLC
2647:ISBN
2620:ISBN
2506:ISBN
2047:Tang
1739:and
1619:and
1538:Two
1086:and
1078:and
926:and
623:The
457:Tang
410:silk
3127:doi
3084:doi
3041:doi
2998:doi
2961:doi
2914:doi
2844:doi
2793:doi
2750:doi
2498:doi
1640:.
1574:of
1427:by
1353:'s
1317:by
1100:by
493:by
453:Han
347:by
219:or
211:or
147:中國畫
139:中国画
84:中国画
70:中國畫
3531::
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2807:.
2799:.
2789:34
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2756:.
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2744:.
2725:.
2677:.
2655:.
2602:^
2594:25
2547:^
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1723:,
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1070:.
956:;
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509:.
291:,
279:,
275:,
227:,
193:;
191:丹青
177:國畫
171:;
169:国画
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3063:.
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