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| {{Use mdy dates|date=November 2011}} | |||
| ] ornament, with ] and ] design, of the late ] (722–482 BC).]] | |||
| ] loyalist painter ]. The decaying lotus leaves and dragonflies hovering over stagnant water are probably a veiled criticism of ].<ref>{{cite web |url=http://www.dia.org/the_collection/overview/viewobject.asp?objectid=57885 |title=Early Autumn (29.1) |publisher=] |accessdate=2008-12-18 |deadurl=yes |archiveurl=https://web.archive.org/web/20081002162351/http://www.dia.org/the_collection/overview/viewobject.asp?objectid=57885 |archivedate=October 2, 2008 |df=mdy }}</ref>]] | |||
| ] tray with two birds against a background of plum blossum and flowers, 19 cm wide, 13th century]] | |||
| ] Emperor ]]] | |||
| '''Chinese art''' is ] that, whether ancient or modern, originated in or is practiced in China or by Chinese artists. The Chinese art in the ] (Taiwan) and that of ] can also be considered part of Chinese art where it is based in or draws on Chinese heritage and ]. Early "] art" dates back to 10,000 BC, mostly consisting of simple ] and sculptures. After this early period Chinese art, like Chinese history, is typically classified by the succession of ruling ] of ], most of which lasted several hundred years. | |||
| Chinese art has arguably the oldest continuous tradition in the world, and is marked by an unusual degree of continuity within, and consciousness of, that tradition, lacking an equivalent to the Western collapse and gradual recovery of classical styles. The media that have usually been classified in the West since the ] as the ] are extremely important in Chinese art, and much of the finest work was produced in large workshops or factories by essentially unknown artists, especially in ]. | |||
| Much of the best work in ceramics, textiles, ], and other techniques was produced over a long period by the various Imperial factories or workshops, which as well as being used by the court was distributed internally and abroad on a huge scale to demonstrate the wealth and power of the Emperors. In contrast, the tradition of ], practiced mainly by ]s and court painters especially of ], flowers, and birds, developed ] values depending on the individual imagination of and objective observation by the artist that are similar to those of the West, but long pre-dated their development there. After contacts with Western art became increasingly important from the 19th century onwards, in recent decades China has participated with increasing success in worldwide ]. | |||
| == Painting == | |||
| ]'', an imaginary tour through ] by ] (李氏), 12th century scroll, 30 x 400 cm. Ink on paper. ].]] | |||
| {{main article|Chinese painting}} | |||
| Traditional Chinese painting involves essentially the same techniques as ] and is done with a | |||
| ]; oils are not used. As with calligraphy, the most popular materials on which paintings are made of paper and silk. The finished work can be mounted on scrolls, such as ]s or ]s. Traditional painting can also be done on album sheets, walls, ], ]s, and other media. | |||
| The two main techniques in Chinese painting are: | |||
| * ] (工筆), meaning "meticulous", uses highly detailed brushstrokes that delimits details very precisely. It is often highly coloured and usually depicts figural or narrative subjects. It is often practised by artists working for the royal court or in independent workshops. ]s were often in this style. | |||
| * ], in Chinese ''Shui-mo'' or (水墨<ref>The Chinese character "mo" means ink and "shui" means water</ref>) also loosely termed watercolour or brush painting, and also known as "literati painting", as it was one of the "]" of the Chinese ] class.<ref>Sickman, 222</ref> In theory this was an art practised by gentlemen, a distinction that begins to be made in writings on art from the ], though in fact the careers of leading exponents could benefit considerably.<ref>Rawson, 114-119; Sickman, Chapter 15</ref> This style is also referred to as "xie yi" (寫意) or freehand style. | |||
| Artists from the ] (202 BC) to the ] (618–906) dynasties mainly painted the human figure. Much of what is known 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 get to paradise. Others illustrated the teachings of the Chinese philosopher ], or showed scenes of daily life. Most Chinese portraits showed a formal full-length frontal view, and were used in the family in ]. Imperial portraits were more flexible, but were generally not seen outside the court, and portraiture formed no part of Imperial propaganda, as in other cultures. | |||
| Many critics consider landscape to be the highest form of Chinese painting. 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 ], ], ], and ] painted pictures of towering mountains, using strong black lines, ink wash, and sharp, dotted brushstrokes to suggest rough rocks. In the south, ], ], 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. | |||
| <gallery widths="200px" heights="200px"> | |||
| File:庞掌运.png|Traditional Chinese portrait ] portrait on silk | |||
| File:Chinese, ‘Pink and White Lotus’, 14th century China, Yuan dynasty (1279–1368), Hanging scroll; mineral pigments on silk, Kimbell Art Museum.jpg|‘Pink and White Lotus’, 14th century ] | |||
| File:Ни Цзань.Дерево, бамбук и изящный камень. Гугун, Пекин..jpg|''Wood, Bamboo, and Elegant Stone'', ], 1360s–1370s, ] | |||
| </gallery> | |||
| ==Sculpture== | |||
| {{see also|Chinese Buddhist sculpture}} | |||
| ] in pottery, c. 670-750 ]] | |||
| {{multiple image| align = right | direction = horizontal | header = | header_align = left/right/center | footer = An ] glazed ceramic statue of a horse with ] and ] headgear, from ], late 2nd century to early 3rd century AD| footer_align = left | image1 = Sichuan, han orientali, cavallo con ciuffo e criniera corta, seconda metà II-inizio III sec. 02.JPG | width1 = 130 | caption1 = | image2 = Sichuan, han orientali, cavallo con ciuffo e criniera corta, seconda metà II-inizio III sec. 03.JPG | width2 = 263| caption2 = }} | |||
| ] from the ] and ] come from a period of over a thousand years from c. 1500, and have exerted a continuing influence over Chinese art. They are cast with complex patterned and ] decoration, but avoid the human figure, unlike the huge figures only recently discovered at ].<ref>Rawson, Chapter 1, 135–136</ref> The spectacular ] was assembled for the tomb of ], the first ] of a unified China from 221–210 BC, as a grand imperial version of the figures long placed in tombs to enable the deceased to enjoy the same lifestyle in the afterlife as when alive, replacing actual sacrifices of very early periods. Smaller figures in pottery or wood were placed in tombs for many centuries afterwards, reaching a peak of quality in the ].<ref>Rawson, 138-138</ref> | |||
| Native Chinese religions do not usually use cult images of deities, or even represent them, and large religious sculpture is nearly all Buddhist, dating mostly from the 4th to the 14th century, and initially using ] models arriving via the ]. Buddhism is also the context of all large portrait sculpture; in total contrast to some other areas in medieval China even painted images of the emperor were regarded as private. Imperial tombs have spectacular avenues of approach lined with real and mythological animals on a scale matching Egypt, and smaller versions decorate temples and palaces.<ref>Rawson, 135–145; 145–163</ref> Small Buddhist figures and groups were produced to a very high quality in a range of media,<ref>Rawson, 163–165</ref> as was relief decoration of all sorts of objects, especially in metalwork and ].<ref name="Rawson, Chapters 4 and 6">Rawson, Chapters 4 and 6</ref> Sculptors of all sorts were regarded as artisans and very few names are recorded.<ref>Rawson, 135</ref> | |||
| <gallery widths="200px" heights="200px" perrow="4"> | |||
| File:Nswag, dinastia han, figurina dipinta di danzatrice.jpg|Pottery tomb figure of dancing girl, Han dynasty (202 BC-220 AD) | |||
| File:Wei-Maitreya.jpg|] ] (386–534) | |||
| File:Mahayanabuddha.jpg|Seated ], ] ca. 650. | |||
| File:Leshan Buddha Statue View.JPG|The ], ], completed in 803. | |||
| File:AIC-portrait-monk.jpg|Portrait of monk, ], 11th century | |||
| File:Song-Bodhisattva1.jpg|A wooden ] from the ] (960–1279) | |||
| File:Chinese - Cup with Dragon Handles - Walters 42250 - Profile.jpg|] Cup with dragon handles, 12th century | |||
| File:Dinastia tang, shanxi, straniero dal volto velato, 600-750 ca.JPG|An 8th-century ] ] of a ]n man (an ]) wearing a distinctive cap and face veil, possibly a camel rider or even a ] priest engaging in a ritual at a ], since face veils were used to avoid contaminating the holy fire with breath or saliva; ], Italy.<ref>Lee Lawrence. (3 September 2011). . '']''. Accessed on 31 August 2016.</ref> | |||
| </gallery> | |||
| ==Pottery== | |||
| {{main article|Chinese ceramics}} | |||
| Chinese ceramic ware shows a continuous development since the pre-dynastic periods, and is one of the most significant forms of Chinese art. China is richly endowed with the raw materials needed for making ceramics. The first types of ceramics were made during the ] era, and in later periods range from construction materials such as bricks and tiles, to hand-built pottery vessels fired in bonfires or kilns, to the sophisticated Chinese porcelain wares made for the imperial court. Most later Chinese ceramics, even of the finest quality, were made on an industrial scale, thus very few individual potters or painters are known. Many of the most renowned workshops were owned by or reserved for the Emperor, and large quantities of ceramics were exported as diplomatic gifts or for trade from an early date. | |||
| <gallery widths="200px" heights="200px" perrow="4"> | |||
| File:AIC-winejar2.jpg|Wine jar, ] (1050 BC–771 BC) | |||
| File:Xian 2006 632.jpg|Ceramic female attendants, from the tomb of ] (d. 135 BC), ] dynasty, Shaanxi History Museum, Xi'an | |||
| File:Dish with underglazed blue and overglazed red design of clouds and dragons, Jingdezhen ware, Yongzheng reign 1723-1735, Qing, Shanghai Museum.jpg|Dish with underglazed blue and overglazed red design of clouds and dragons, ], ] (1723–1735), ], ] | |||
| File:SancaiHorseTang7-8thCentury.JPG|Sancai glazed ceramic horse, ] of China, 7th–8th century, ] | |||
| File:Chinese jar, Ming dynasty, Jiajing period (1521-1567), porcelain, HAA.JPG|Chinese jar, ], ] period (1521–1567), porcelain, ] | |||
| File:Man blowing conch (Wanli Reign Period).JPG|Blue underglaze statue of a man with his pipe, from ], ] (1368–1644) | |||
| File:Ming dynasty Xuande mark and period (1426–35) imperial blue and white vase, from The Metropolitan Museum of Art. 明宣德 景德鎮窯青花貫耳瓶, 纽约大都博物馆 .jpg|Ming dynasty ] mark and period (1426–35) imperial ] vase. The ], New York. | |||
| File:Chinese brush stand, Qing dynasty (Qianlong period).jpg|A porcelain brush stand, ] period | |||
| </gallery> | |||
| ==Decorative arts== | |||
| ]]] | |||
| ]]] | |||
| As well as porcelain, a wide range of materials that were more valuable were worked and decorated with great skill for a range of uses or just for display.<ref name="Rawson, Chapters 4 and 6"/> ] was attributed with magical powers, and was used in the Stone and Bronze Ages for large and impractical versions of everyday weapons and tools, as well as the ] and ].<ref>Rawson, 50-54</ref> Later a range of objects and small sculptures were carved in jade, a difficult and time-consuming technique. ], gold and silver, ], ], ivory, ] and ], ] and many other materials had specialist artists working in them. | |||
| ]s ({{zh|c=屏風|p=píngfēng}}) are often decorated with beautiful art; major themes include mythology, scenes of palace life, and nature. Materials such as wood panel, paper and silk are used in making folding screens. They were considered ideal ornaments for many painters to display their ] and ].<ref name="mazurkewich">{{cite book|last1=Mazurkewich|first1=Karen|first2=A. Chester|last2=Ong|title=Chinese Furniture: A Guide to Collecting Antiques|year=2006|publisher=Tuttle Publishing|isbn=978-0-8048-3573-2|pages=144–146|url=https://books.google.com/books?id=xswA02E02KwC}}</ref><ref name="needham-v5">{{cite book |last1=Needham |first1=Joseph |authorlink1=Joseph Needham |last2=Tsien |first2=Tsuen-hsuin |authorlink2=Tsien Tsuen-hsuin |title=Paper and printing, Volume 5 |year=1985 |publisher=Cambridge University Press |isbn=978-0-521-08690-5 |page=120 |url=https://books.google.com/books?id=Lx-9mS6Aa4wC}}</ref> Many artists painted on paper or silk and applied it onto the folding screen.<ref name="mazurkewich"/> There were two distinct artistic folding screens mentioned in historical literature of the era. | |||
| ==Historical development to 221 BC== | |||
| ]'', painting on ], dated to 5th-3rd century BC, ] period, from Zidanku Tomb no. 1 in ], ] Province]] | |||
| ===Neolithic pottery=== | |||
| {{main article|Yangshao culture}} | |||
| Early forms of art in China are found in the ] ], which dates back to the 6th millennium BC. Archeological findings such as those at the ] have revealed that the Yangshao made pottery; early ] were unpainted and most often cord-marked. The first decorations were fish and human faces, but these eventually evolved into ]-] abstract designs, some painted. | |||
| The most distinctive feature of Yangshao culture was the extensive use of painted pottery, especially human facial, animal, and geometric designs. Unlike the later ], the Yangshao culture did not use ]s in pottery making. Excavations have found that children were buried in painted pottery jars. | |||
| ===Jade culture=== | |||
| {{main article|Liangzhu culture}} | |||
| The Liangzhu culture was the last Neolithic Jade culture in the ] and was spaced over a period of about 1,300 years. The Jade from this culture is characterized by finely worked, large ritual jades such as ] cylinders, ] discs, Yue axes and also pendants and decorations in the form of chiseled open-work plaques, plates and representations of small birds, turtles and fish. The Liangzhu Jade has a white, milky bone-like aspect due to its ] rock origin and influence of water-based fluids at the burial sites. | |||
| === Bronze casting === | |||
| ]]] | |||
| {{main article|Chinese ritual bronzes}} | |||
| {{further information|Bianzhong of Marquis Yi of Zeng}} | |||
| The ] in China began with the ]. Examples from this period have been recovered from ruins of the ], in Shanxi, and include complex but unadorned utilitarian objects. In the following ] more elaborate objects, including many ritual vessels, were crafted. The Shang are remembered for their ] casting, noted for its clarity of detail. Shang bronzesmiths usually worked in ] outside the cities to make ritual vessels, and sometimes weapons and chariot fittings as well. The bronze vessels were receptacles for storing or serving various solids and liquids used in the performance of sacred ceremonies. Some forms such as the ''ku'' and ''jue'' can be very graceful, but the most powerful pieces are the '']'', sometimes described as having an "air of ferocious majesty". | |||
| It is typical of the developed Shang style that all available space is decorated, most often with stylized forms of real and imaginary animals. The most common motif is the '']'', which shows a mythological being presented frontally as though squashed onto a horizontal plane to form a symmetrical design. The early significance of ''taotie'' is not clear, but myths about it existed around the late ]. It was considered to be variously a covetous man banished to guard a corner of heaven against evil monsters; or a monster equipped with only a head which tries to devour men but hurts only itself. | |||
| The function and appearance of bronzes changed gradually from the Shang to the Zhou. They shifted from been used in religious rites to more practical purposes. By the ], bronze vessels had become objects of aesthetic enjoyment. Some were decorated with social scenes, such as from a banquet or hunt; whilst others displayed abstract patterns inlaid with gold, silver, or precious and semiprecious stones. | |||
| Shang bronzes became appreciated as works of art from the ], when they were collected and prized not only for their shape and design but also for the various green, blue green, and even reddish patinas created by chemical action as they lay buried in the ground. The study of early Chinese bronze casting is a specialized field of art history. | |||
| <gallery widths="200px" heights="200px"> | |||
| Image:CMOC Treasures of Ancient China exhibit - black pottery goblet.jpg|Black eggshell pottery of the ] (c. 3000–2000 BC) | |||
| Image:B-Bronzeglocke1.JPG|A ] bronze musical bell | |||
| File:Bronze jin from Henan.jpg|A bronze stand for ceremonial vessels, excavated from the tomb of the son of ] (r. 613–591 BC) | |||
| </gallery> | |||
| === Chu and Southern culture === | |||
| A rich source of art in early China was the state of ], which developed in the Yangtze River valley. Excavations of Chu tombs have found painted wooden sculptures, jade disks, glass beads, musical instruments, and an assortment of ]. Many of the lacquer objects are finely painted, red on black or black on red. A site in ], Hunan province, has revealed some of the oldest paintings on silk discovered to date. | |||
| == Early Imperial China (221 BC–AD 220) == | |||
| === Qin sculpture === | |||
| ] men from the ], interred by 210 BC, ]]] | |||
| ] miniature pottery infantry (foreground) and cavalry (background); in 1990, when the tomb complex of ] (''r''. 157 – 141 BC) and his wife ] (d. 126 BC) was excavated north of ], over 40,000 miniature pottery figures were unearthed. All of them were one-third life size, smaller than the 8,000-some fully life size soldiers of the ] buried alongside the ]. Smaller miniature figurines, on average 60 centimeters (24 in) in height, have also been found in various royal Han tombs where they were placed to guard the deceased tomb occupants in their afterlife.<ref>Paludan, Ann. (1998). Chronicle of the Chinese Emperors: the Reign-by-Reign Record of the Rulers of Imperial China. London: Thames & Hudson Ltd., pp 34-36, {{ISBN|0-500-05090-2}}.</ref>]] | |||
| The ], inside the Mausoleum of the First Qin Emperor, consists of more than 7,000 life-size tomb ] figures of warriors and horses buried with the self-proclaimed first ] of ] (]) in 210–209 BC. The figures were painted before being placed into the vault. The original colors were visible when the pieces were first unearthed. However, exposure to air caused the pigments to fade, so today the unearthed figures appear ] in color. The figures are in several poses including standing infantry and kneeling archers, as well as charioteers with horses. Each figure's head appears to be unique, showing a variety of facial features and expressions as well as hair styles. | |||
| ===Pottery=== | |||
| ] is made from a hard paste made of the ] ] and a ] called ], which cements the vessel and seals any ]. ''China'' has become synonymous with high-quality porcelain. Most china pots comes from the city of ] in China's ] province. Jingdezhen, under a variety of names, has been central to porcelain production in China since at least the early ]. | |||
| The most noticeable difference between porcelain and the other pottery clays is that it "wets" very quickly (that is, added water has a noticeably greater effect on the plasticity for porcelain than other clays), and that it tends to continue to "move" longer than other clays, requiring experience in handling to attain optimum results. During medieval times in Europe, porcelain was very expensive and in high demand for its beauty. ]s also date from the Han dynasty. | |||
| === Han art === | |||
| The ] was known for ]s. One of the earliest known depictions of a landscape in Chinese art comes from a pair of hollow-tile door panels from a Western Han dynasty tomb near ], dated 60 BC.<ref name="needham volume 4 part 3 plate">Needham, Joseph (1986). ''Science and Civilization in China'': Volume 4, Physics and Physical Technology, Part 3: Civil Engineering and Nautics. Taipei: Caves Books, Ltd. Plate CCCXII</ref> A scene of continuous depth recession is conveyed by the zigzag of lines representing roads and garden walls, giving the impression that one is looking down from the top of a hill.<ref name="needham volume 4 part 3 plate"/> This artistic landscape scene was made by the repeated impression of standard stamps on the clay while it was still soft and not yet fired.<ref name="needham volume 4 part 3 plate"/> However, the oldest known landscape art scene tradition in the classical sense of painting is a work by ] of the ] (581–618). | |||
| <gallery widths="200px" heights="200px"> | |||
| File:Splendeurs des Han (musée Guimet) (15648981106).jpg|A ] (202 BC – 8 AD) ceramic statuette of a seated woman and court attendant, from a tomb of ], ] | |||
| Image:ChangXingongdeng.jpg|A gilt bronze lamp with a shutter, in the shape of a maidservant, from the ], 2nd century BC | |||
| File:Confucius, fresco from a Western Han tomb of Dongping County, Shandong province, China.jpg|A ] (202 BC – 9 AD) tomb fresco depicting the philosopher ], from ], ] | |||
| Image:Gentlemen in conversation, Eastern Han Dynasty.jpg|Two gentlemen engrossed in conversation while two others look on, a painting on a ceramic tile from a tomb near ], Henan province, dated to the ] (25–220 AD) | |||
| File:Eastern Han Dynasty tomb fresco of chariots, horses, and men, Luoyang 2.jpg|A section of an ] (25–220 AD) fresco of 9 chariots, 50 horses, and over 70 men, from a tomb in ], China | |||
| File:Dahuting mural, Eastern Han Dynasty.jpg|Mural of the Dahuting Tomb (Chinese: 打虎亭汉墓, Pinyin: ''Dahuting Han mu'') of the late ] (25–220 AD), located in ], ] province, China | |||
| File:Dahuting tomb mural showing hanfu dress, Eastern Han Dynasty.jpg|Mural of the Dahuting Tomb (Chinese: 打虎亭汉墓, Pinyin: ''Dahuting Han mu'') of the late ] (25–220 AD), located in ], ] province, China | |||
| File:Dahuting tomb mural detail of a woman, Eastern Han.jpg|Mural of the Dahuting Tomb (Chinese: 打虎亭汉墓, Pinyin: ''Dahuting Han mu'') of the late ] (25–220 AD), located in ], ] province, China | |||
| File:Dahuting tomb mural detail of women wearing hanfu, Eastern Han period.jpg|Mural of the Dahuting Tomb (Chinese: 打虎亭汉墓, Pinyin: ''Dahuting Han mu'') of the late ] (25–220 AD), located in ], ] province, China | |||
| File:Woman_with_a_mirror,_China,_unearthed_at_Songjialin,_Pixian,_Sichuan,_Eastern_Han_dynasty,_25-220_AD,_ceramic_-_Sichuan_Provincial_Museum_-_Chengdu,_China_-_DSC04768.jpg|An ] (25–220 AD) ] of a seated woman with a ], unearthed from a tomb of Songjialin, ], ] | |||
| </gallery> | |||
| == Period of division (220–581) == | |||
| ], probably a ] copy of the original by ]]] | |||
| === Influence of Buddhism === | |||
| {{main article|Buddhist art#China|l1=Buddhist art}} | |||
| ] arrived in China around the 1st century AD (although there are some traditions about a monk visiting China during ]'s reign), and through to the 8th century it became very active and creative in the development of Buddhist art, particularly in the area of statuary. Receiving this distant religion, China soon incorporated strong Chinese traits in its artistic expression. | |||
| In the fifth to sixth century the ], rather removed from the original sources of inspiration, tended to develop rather symbolic and abstract modes of representation, with schematic lines. Their style is also said to be solemn and majestic. The lack of corporeality of this art, and its distance from the original Buddhist objective of expressing the pure ideal of enlightenment in an accessible, realistic manner, progressively led to a research towards more naturalism and realism, leading to the expression of Tang Buddhist art. | |||
| === Calligraphy === | |||
| In ancient China, painting and ] were the most highly appreciated arts in court circles and were produced almost exclusively by amateurs, aristocrats and scholar-officials who alone had the leisure to perfect the technique and sensibility necessary for great brushwork. Calligraphy was thought to be the highest and purest form of painting. The implements were the brush, made of animal hair, and black ] made from pine soot and animal glue. Writing as well as painting was done on silk. But after the invention of paper in the 1st century, silk was gradually replaced by the new and cheaper material. Original writings by famous calligraphers have been greatly valued throughout China's history and are mounted on scrolls and hung on walls in the same way that paintings are. | |||
| ] was a famous Chinese calligrapher who lived in the 4th century AD. His most famous work is the '']'', the preface to a collection of poems. The script was often celebrated as the high point of the ] "Running Style" in the history of Chinese calligraphy. | |||
| ] was a well-known calligrapher of the ] who established consequential rules about the ]. Her well-known works include ''Famous Concubine Inscription'' (名姬帖 Ming Ji Tie) and ''The Inscription of Wei-shi He'nan'' (衛氏和南帖 Wei-shi He'nan Tie). | |||
| === Painting === | |||
| {{multiple image| align = right | direction = vertical | header = | header_align = left/right/center | footer = Mural paintings of court life in Xu Xianxiu's Tomb, ], 571 AD, located in ], ] province | footer_align = left | image1 = Paintings on north wall of Xu Xianxiu Tomb.jpg | width1 = 250 | caption1 = | image2 = Paintings on east wall of Xu Xianxiu Tomb.jpg | width2 = 250| caption2 = | image3 = Paintings on west wall of Xu Xianxiu Tomb.jpg | width3 = 250| caption3 = }} | |||
| ] is a celebrated painter of ancient China born in ]. He wrote three books about painting theory: ''On Painting'' (畫論), ''Introduction of Famous Paintings of Wei and Jin Dynasties'' (魏晉名畫記) and ''Painting Yuntai Mountain'' (畫雲臺山記). He wrote, "In figure paintings the clothes and the appearances were not very important. The eyes were the spirit and the decisive factor." | |||
| Three of Gu's paintings still survive today: '']'', ''Nymph of the Luo River'' (洛神賦), and ''Wise and Benevolent Women''. | |||
| There are other examples of Jin dynasty painting from tombs. This includes the ''Seven Sages of the Bamboo Grove,'' painted on a brick wall of a tomb located near modern Nanjing and now found in the Shaanxi Provincial Museum. Each of the figures are labeled and shown either drinking, writing, or playing a musical instrument. Other tomb paintings also depict scenes of daily life, such as men plowing fields with teams of oxen. | |||
| <gallery widths="200px" heights="200px"> | |||
| File:Seven Sages of the Bamboo Grove.jpg|''Seven Sages of the Bamboo Grove'', a ] tomb painting from ], now located in the ] Provincial Museum. | |||
| File:Buddhist paintings Yungang.jpg|] wall ]s and painted figurines from the ], dated 5th to 6th centuries. | |||
| File:Riders on Horseback, Northern Qi Dynasty.jpg|A scene of two horseback riders from a wall painting in the tomb of Lou Rui at ], Shanxi, ] dynasty (550–577) | |||
| </gallery> | |||
| == The Sui and Tang dynasties (581–960) == | |||
| {{Main article|Tang dynasty art}} | |||
| ], artist of the ] (581–618).]] | |||
| ] tri-color ]d porcelain horse (ca. 700 AD), using yellow, green and white colors.]] | |||
| === Buddhist architecture and sculpture === | |||
| Following a transition under the ], Buddhist sculpture of the ] evolved towards a markedly lifelike expression. As a consequence of the dynasty's openness to foreign trade and influences through the ], Tang dynasty Buddhist sculpture assumed a rather classical form, inspired by the Greco-Buddhist art of Central Asia. | |||
| However, foreign influences came to be negatively perceived towards the end of the Tang dynasty. In the year 845, the Tang emperor ] outlawed all "foreign" religions (including Christian ], ] and ]) in order to support the indigenous ]. He confiscated Buddhist possessions and forced the faith to go underground, therefore affecting the ulterior development of the religion and its arts in China. | |||
| Glazed or painted ] ] are famous, and well-represented in museums around the world. Most wooden Tang sculptures have not survived, though representations of the Tang international style can still be seen in ], Japan. The longevity of stone sculpture has proved much greater. Some of the finest examples can be seen at ], near ], ] near ], and ], in ]. | |||
| One of the most famous Buddhist ]s is the ], built in 652 AD. | |||
| <gallery widths="200px" heights="200px"> | |||
| Image:Palefrenier menant deux chevaux par Han Gan.jpg|''A Man Herding Horses'', by ] (706–783 AD), Tang dynasty original. | |||
| File:Anonymous-Bodhisattva Leading the Way.jpg|Tang dynasty painting from ]. | |||
| </gallery> | |||
| === Painting === | |||
| ] (c. 934–962).]] | |||
| Beginning in the ] (618–907), the primary subject matter of painting was the landscape, known as ] (mountain water) painting. In these landscapes, usually monochromatic and sparse, the purpose was not to reproduce exactly the appearance of nature but rather to grasp an emotion or atmosphere so as to catch the "rhythm" of nature. | |||
| Painting in the traditional style involved essentially the same techniques as calligraphy and was done with a brush dipped in black or colored ink; oils were not used. As with calligraphy, the most popular materials on which paintings were made were paper and silk. The finished works were then mounted on scrolls, which could be hung or rolled up. Traditional painting was also done in albums, on walls, ] work, and in other media. | |||
| ] was an active painter in the Southern Tang Kingdom. He was known for both figure and landscape paintings, and exemplified the elegant style which would become the standard for brush painting in China over the next 900 years. As with many artists in China, his profession was as an official where he studied the existing styles of Li Sixun and Wang Wei. However, he added to the number of techniques, including more sophisticated perspective, use of pointillism and crosshatching to build up vivid effect. | |||
| ] was a painter during the Sui dynasty. His only painting in existence is ''Strolling About In Spring'' arranged mountains perspectively. Because pure ] are hardly seen in Europe until the 17th century, ''Strolling About In Spring'' may well be the world's first landscape painting. | |||
| == The Song and Yuan dynasties (960–1368) == | |||
| {{main article|Culture of the Song Dynasty}} | |||
| ] from the ] (960–1279 AD)]] | |||
| ] ]'', by Zhang Shengwen, 1173–1176 AD, ] period.]] | |||
| === Song painting === | |||
| During the ] (960–1279), landscapes of more subtle expression appeared; immeasurable distances were conveyed through the use of blurred outlines, mountain contours disappearing into the mist, and impressionistic treatment of natural phenomena. Emphasis was placed on the spiritual qualities of the painting and on the ability of the artist to reveal the inner harmony of man and nature, as perceived according to ] and ] concepts. | |||
| ] was a Chinese painter who lived in the 13th century (Song dynasty). He called himself "Madman Liang", and he spent his life drinking and painting. Eventually, he retired and became a ] monk. Liang is credited with inventing the Zen school of Chinese art. ] was a painter who lived in the 11th century. He was famous for ]. He could hold two brushes in one hand and paint two different distanced bamboos simultaneously. He did not need to see the bamboo while he painted them because he had seen a lot of them. | |||
| ] was a notable painter for his horizontal '']'' landscape and cityscape painting. It has been quoted as "China's ]" and has had many well-known remakes throughout Chinese history.<ref>{{cite news|last=Bradsher |first=Keith |url=https://www.nytimes.com/2007/07/03/arts/design/03pain.html?_r=2 |title=‘China's Mona Lisa’ Makes a Rare Appearance in Hong Kong |location=China;Hong Kong;Great Britain |work=The New York Times |date=July 3, 2007 |accessdate=2011-11-13}}</ref> Other famous paintings include '']'', originally painted by the ] artist ] in the 10th century, while the well-known version of his painting is a 12th-century remake of the Song dynasty. This is a large horizontal handscroll of a domestic scene showing men of the ] being entertained by musicians and dancers while enjoying food, beverage, and wash basins provided by maidservants. In 2000, the modern artist Wang Qingsong created a parody of this painting with a long, horizontal photograph of people in modern clothing making similar facial expressions, poses, and hand gestures as the original painting. | |||
| <gallery widths="200px" heights="200px"> | |||
| Image:Song Dynasty Porcelain Bottle.jpg|Song dynasty ding-ware ] bottle with iron pigment under a transparent colorless glaze, 11th century. | |||
| Image:Su Han Ch'en 001.jpg|''Playing Children'', by Song artist Su Hanchen, c. 1150 AD. | |||
| File:Guanyin 00.jpg|Seated ] Avalokitesvara (]), wood and pigment, 11th century, Chinese ], ] | |||
| </gallery> | |||
| {{Panorama | |||
| |image = File:Sung dynasty imperial procession6.jpg | |||
| |height = 150px | |||
| |caption = A ] imperial procession giving tribute to the ], depicting armed honor guards and officials, dated 1053–1065 | |||
| |dit = rtl}} | |||
| === Yuan painting === | |||
| ] playing '']'' (i.e. Chinese football) with his prime minister ] (趙普) and other ministers, by the ] artist ] (1235–1305)]] | |||
| With the fall of the Song dynasty in 1279, and the subsequent dislocation caused by the establishment of the ] by the ] conquerors, many court and literary artists retreated from social life, and returned to nature, through landscape paintings, and by renewing the "blue and green" style of the Tang era.<ref name="Capon and Pang, pg. 12">Capon and Pang, pg. 12</ref> | |||
| ] was one such painter, and one of his most famous works is the ''Forest Grotto''. ] was a Chinese scholar, painter and ] during the ]. His rejection of the refined, gentle brushwork of his era in favor of the cruder style of the 8th century is considered to have brought about a revolution that created the modern Chinese landscape painting. There was also the vivid and detailed works of art by ] (1235–1305), who had served the Song court, and out of patriotism refused to serve the Mongols, instead turning to painting. He was also famous for reviving and reproducing a more Tang dynasty style of painting. | |||
| The later Yuan dynasty is characterized by the work of the so-called "Four Great Masters". The most notable of these was ] (1269–1354) whose cool and restrained landscapes were admired by contemporaries, and by the Chinese literati painters of later centuries. Another of great influence was ] (1301–1374), who frequently arranged his compositions with a strong and distinct foreground and background, but left the middle-ground as an empty expanse. This scheme was frequently to be adopted by later ] and ] dynasty painters.<ref name="Capon and Pang, pg. 12"/> | |||
| ==Late imperial China (1368–1911)== | |||
| ] statue of a Judge of Hell, ] (16th century)]] | |||
| === Ming painting === | |||
| {{main article|Ming dynasty painting}} | |||
| ] | |||
| ] from 1664 by the ] painter, ]]] | |||
| Under the ], Chinese culture bloomed. Narrative painting, with a wider color range and a much busier composition than the Song paintings, was immensely popular during the time. | |||
| ] (1470–1559) developed the style of the Wu school in ], which dominated Chinese painting during the 16th century.<ref>Capon and Pang, pg. 42</ref> | |||
| European culture began to make an impact on Chinese art during this period. The Jesuit priest ] visited ] with many Western artworks, which were influential in showing different techniques of perspective and shading.<ref>Capon and Pang, pg. 120</ref> | |||
| === Early Qing painting === | |||
| ] Enjoying Himself During the 8th Lunar Month'', by anonymous court artists, 1723–1735 AD, ], Beijing, showing the use of ].]] | |||
| The early Qing dynasty developed in two main strands: the Orthodox school, and the Individualist painters, both of which followed the theories of Dong Qichang, but emphasizing very different aspects.<ref>Capon and Pang, pg. 90, 91</ref> | |||
| The "]", including ] (1598–1677) and ] (1592–1680), were particularly renowned in the ], and sought inspiration in recreating the past styles, especially the technical skills in brushstrokes and calligraphy of ancient masters. The younger ] (1642–1715) ritualized the approach of engaging with and drawing inspiration from a work of an ancient master. His own works were often annotated with his theories of how his painting relates to the master's model.<ref>Capon and Pang, pg. 90</ref> | |||
| The Individualist painters included ] (1626–1705) and ] (1641–1707). They drew more from the revolutionary ideas of transcending the tradition to achieve an original individualistic styles; in this way they were more faithfully following the way of Dong Qichang than the Orthodox school (who were his official direct followers.)<ref>Capon and Pang, pg. 91</ref> | |||
| As the techniques of color printing were perfected, illustrated manuals on the art of painting began to be published. '']'' (Manual of the Mustard Seed Garden), a five-volume work first published in 1679, has been in use as a technical textbook for artists and students ever since. | |||
| === Late Qing Art === | |||
| ] were a form of ] woodblock prints in China, depicting images for decoration during the ]. In the 19th century Nianhua were used as news mediums. | |||
| === Shanghai School === | |||
| The ] is a very important Chinese school of traditional arts during the ] and the 20th century. Under efforts of masters from this school, traditional Chinese art reached another climax and continued to the present in forms of "]" (中國畫), or ''guohua'' (國畫) for short. The Shanghai School challenged and broke the literati tradition of Chinese art, while also paying technical homage to the ancient masters and improving on existing traditional techniques. Members of this school were themselves educated literati who had come to question their very status and the purpose of art, and had anticipated the impending modernization of Chinese society. In an era of rapid social change, works from the Shanghai School were widely innovative and diverse, and often contained thoughtful yet subtle social commentary. The best known figures from this school are ], ], ], ], ], ], ], ], and ]. Other well-known painters include ], ], ], ], and ]. | |||
| == New China art (1912–1949) == | |||
| ], one of the most well-known comic book characters in China]] | |||
| ===Transformation=== | |||
| With the end of the last dynasty in China, the ] began and defied all facets of traditionalism. A new breed of 20th century cultural philosophers like ], ], ] and ] wanted Chinese culture to modernise and reflect the New China. The ] would cause a drastic split between the ] and the ]. Following was the ] in particular. The ] would leave the major cultural art center borderline to a humanitarian crisis. | |||
| ===Painting=== | |||
| ] ({{zh|c=]}}) (1900–1945), artist and friend of ] accomplished the subtle integration of Western art techniques and perspectives into traditional Chinese painting. Ong was one of the first few batches of Chinese scholars and artists who studied in France in the early 20th Century. | |||
| Western style oil painting was introduced to China by painters such as ]. Another important influential artist in the 1940s was ] who incorporated nature in all his art and mixed traditional Asian art with realism. | |||
| ==Communist and socialist art (1950–1980s)== | |||
| <!-- Image with inadequate rationale removed: ]'', made in 1964 and considered as a noted example of ]]] --> | |||
| ===Selective art decline=== | |||
| The Communist Party of China gained full control of the government with ] heading the People's Republic of China. Artists were heavily promoted if their art was presented in a manner that favored the government. Vice versa, any clash with communist party beliefs would force artists to become farmers via "re-education" processes under the regime. The peak era of governmental control came during the ]. The most notable event was the ], which had major consequences for pottery, painting, literary art, architecture, and more.{{Citation needed|date=October 2014}} | |||
| ===Painting=== | |||
| Artists were encouraged to employ ]. Some Soviet Union socialist realism was imported without modification, and painters were assigned subjects and expected to mass-produce paintings. This regimen was considerably relaxed in 1953 and, after the ] of 1956–57, traditional Chinese painting experienced a significant revival. 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. Notable modern Chinese painters include ], ], ], ], ], ], ], ], ], and ]. | |||
| ==Redevelopment (Mid-1980s – 1990s)== | |||
| ===Contemporary Art=== | |||
| Contemporary Chinese art (中國當代藝術, Zhongguo Dangdai Yishu) often referred to as Chinese avant-garde art, continued to develop since the 1980s as an outgrowth of modern art developments post-Cultural Revolution. | |||
| ]: Fashion Ensemble. Oil on Canvas, 2010 (180 cm x 360 cm).]] | |||
| Contemporary Chinese art fully incorporates painting, film, video, photography, and performance. Until recently, art exhibitions deemed controversial have been routinely shut down by police, and performance artists in particular faced the threat of arrest in the early 1990s. More recently there has been greater tolerance by the ], though many internationally acclaimed artists are still restricted from media exposure at home or have exhibitions ordered closed. Leading contemporary visual artists include ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ] and ]. | |||
| ===Visual art=== | |||
| Beginning in the late 1980s there was unprecedented exposure for younger Chinese visual artists in the west to some degree through the agency of curators based outside the country such as ]. Local curators within the country such as ] and critics such as ] (栗憲庭) reinforced this promotion of particular brands of painting that had recently emerged, while also spreading the idea of art as a strong social force within Chinese culture. There was some controversy as critics identified these imprecise representations of contemporary Chinese art as having been constructed out of personal preferences, a kind of programmatized artist-curator relationship that only further alienated the majority of the avant-garde from Chinese officialdom and western art market patronage. | |||
| ==Art market== | |||
| ] | |||
| Today, the market for Chinese art, both antique and contemporary, is widely reported to be among the hottest and fastest-growing in the world, attracting buyers all over the world.<ref>{{cite news|last=Vogel |first=Carol |url=https://www.nytimes.com/2005/10/20/arts/design/20emer.html?ex=1287460800&en=7cfe74154b7f5de8&ei=5090&partner=rssuserland&emc=rss |title=Christie's Going, Going to China to Hold Auctions. ''The New York Times'' |location=China |work=The New York Times |date=October 20, 2005 |accessdate=2011-11-13}}</ref><ref>{{cite news|last=Barboza |first=David |url=https://www.nytimes.com/2007/01/04/arts/design/04arti.html?ex=1325566800&en=ba1a6b8418c78d5a&ei=5088&partner=rssnyt&emc=rss |title=Booming Chinese Art Market – Report. ''The New York Times'' |location=China |work=The New York Times |date=January 4, 2007 |accessdate=2011-11-13}}</ref><ref>{{cite news|last=Vogel |first=Carol |url=https://www.nytimes.com/2006/12/24/arts/design/24voge.html?ex=1324616400&en=f95450728134eced&ei=5088&partner=rssnyt&emc=rss |title=Chinese Art – Report. ''The New York Times'' |location=China |work=The New York Times |date=December 24, 2006 |accessdate=2011-11-13}}</ref> The ''Voice of America'' reported in 2006 that modern Chinese art is raking in record prices both internationally and in domestic markets, some experts even fearing the market might be overheating.<ref></ref> ''The Economist'' reported that Chinese art has become the latest darling in the world market according to the record sales from ] and ], the biggest fine-art auction houses.<ref>{{cite news|url=http://www.economist.com/finance/displaystory.cfm?story_id=8522411 |title=''The over-heating art market''. The Economist |work=The Economist |accessdate=2011-11-13 |date=January 11, 2007}}</ref> | |||
| Contemporary Chinese art saw record sales throughout the 2000s. In 2007, it was estimated that 5 of the world's 10 best selling living artists at art auction were from China, with artists such as ] whose works were sold for a total of $56.8 million at auction in 2007.<ref>{{cite news|last=Barboza |first=David |url=https://www.nytimes.com/2008/05/07/arts/design/07coll.html?sq=Zeng%20Fanzhi%20Sotheby%26st=cse%26scp=5%26pagewanted=all |title=Some Contemporary Chinese Artists Are Angry About an April Auction at Sotheby's – New York Times |location=China |work=The New York Times |date=May 7, 2008 |accessdate=2011-11-13}}</ref> In terms of buying-market, China overtook France in the late 2000s as the world's third-largest art market, after the United States and the United Kingdom, due to the growing middle-class in the country.<ref>{{cite web|url=http://www.business24-7.ae/Articles/2008/5/Pages/05022008_511a6d9db469417d942a7f8c813384ca.aspx |title=Culture and art Beijing style. Emirates Business-24 |publisher=Business24-7.ae |accessdate=2011-11-13 |deadurl=yes |archiveurl=https://web.archive.org/web/20100130090747/http://www.business24-7.ae/Articles/2008/5/Pages/05022008_511a6d9db469417d942a7f8c813384ca.aspx |archivedate=January 30, 2010 |df=mdy }}</ref><ref>''</ref> ] noted that contemporary Chinese art has rapidly changed the contemporary Asian art world into one of the most dynamic sectors on the international art market.<ref>{{cite web|url=http://www.sothebys.com/app/live/dept/DeptGlobal.jsp?dept_id=188|title=Page Not Found - Sotheby's|publisher=}}</ref> During the global economic crisis, the contemporary Asian art market and the contemporary Chinese art market experienced a slow down in late 2008.<ref>{{cite news|last=Pomfret |first=James |url=https://www.reuters.com/article/lifestyleMolt/idUSTRE4972LU20081008 |title=Chinese art sales weak in Sotheby's HK auction. Reuters |agency=Reuters |accessdate=2011-11-13 |date=October 8, 2008}}</ref><ref>{{cite news|last=Barboza |first=David |url=https://www.nytimes.com/2009/03/11/arts/design/11decl.html?_r=2 |title=China's Art Market: Cold or Maybe Hibernating? ''New York Times'' |location=China |work=The New York Times |date=March 10, 2009 |accessdate=2011-11-13}}</ref> The market for Contemporary Chinese and Asian art saw a major revival in late 2009 with record level sales at Christie's.<ref>{{cite news|last=Santini |first=Laura |url=https://www.wsj.com/articles/SB10001424052748704007804574574212718201866 |title="Christie's Sees Hong Kong Revival As Auction Pulls In $212.5 Million". ''The Wall Street Journal'' |work=The Wall Street Journal |date=December 4, 2009 |accessdate=2011-11-13}}</ref> | |||
| For centuries largely made-up of European and American buyers, the international buying market for Chinese art has also begun to be dominated by Chinese dealers and collectors in recent years.<ref> article by Souren Melikian in '']'' April 2, 2010</ref> It was reported in 2011, China has become the world's second biggest market for art and antiques, accounting for 23 percent of the world's total art market, behind the United States (which accounts for 34 percent of the world's art market).<ref>{{cite news|author=AFP |url=https://www.independent.co.uk/arts-entertainment/art/china-overtakes-britain-as-second-biggest-art-market-2245587.html |title=China overtakes Britain as second biggest art market |work=The Independent |location=UK |date=March 18, 2011 |accessdate=2011-11-13}}</ref> Another transformation driving the growth of the Chinese art market is the rise of a clientele no longer mostly European or American. New fortunes from countries once thought of as poor often prefer non-Western art; a large gallerist in the field has offices in both New York and Beijing, but clients mainly hailing from Latin America, Asia and the Middle East.<ref>{{cite web|last1=Genis|first1=Daniel|title=Eli Klein on Riding the Wave of China's Contemporary Art Scene|url=http://www.newsweek.com/2015/04/24/riding-wave-chinas-contemporary-art-scene-321621.html|website=www.Newsweek.com|accessdate=30 May 2015}}</ref> | |||
| One of the areas that has revived art concentration and also commercialized the industry is the ] in ] of Beijing. The artist Zhang Xiaogang sold a 1993 painting for US$2.3 million in 2006, which included blank faced Chinese families from the Cultural Revolution era,<ref>Msnbc. " {{webarchive |url=https://web.archive.org/web/20091223092653/http://worldblog.msnbc.msn.com/archive/2007/05/29/206405.aspx |date=December 23, 2009 }}." ''China's Art scene.'' Retrieved 2007-05-30.</ref> while ]'s work ''Execution'' in 2007 was sold for a then record of nearly $6 million at Sotheby's.<ref>. thestaronline.com. Retrieved 2011-11-11.</ref> Collectors including ],<ref>{{cite web|url=https://www.wsj.com/articles/SB119031552561934214|title=In Macau, Moguls Bet Big on Donated Art|first=Geoffrey A.|last=Fowler|date=September 21, 2007|publisher=|via=Wall Street Journal}}</ref> the owner of the ], investment manager ],<ref name="Miami Herald">{{cite news|title=China Becoming a Major Player in International Art World|url=http://www.miamiherald.com/entertainment/ent-columns-blogs/jordan-levin/article4279669.html|accessdate=25 August 2015|publisher=Miami Herald}}</ref> and casino developer ],<ref>{{cite web|url=http://lasvegassun.com/news/2011/jul/09/seven-wynns-notable-art-purchases/|title=7 of Steve Wynn’s most notable art purchases|date=July 9, 2011|publisher=}}</ref> would capitalize on the art trends. Items such as Ming dynasty vases and assorted Imperial pieces were auctioned off. | |||
| Other art works were sold in places such as Christie's including a Chinese porcelain piece with the mark of the ] sold for ] $151.3 million. Sotheby's and Christie's act as major market platforms for classical Chinese porcelain art pieces to be sold, including Ming dynasty, Xuande mark and period (1426–35) Blue and White jar (Five-Clawed Dragon Print), which was auctioned for Approx. USD 19,224,491.2, through Christie's in Spring 2016<ref>{{cite web|last1=Yi Ching|first1=Leung|title=2016 Top 20 Chinese porcelain auctions (Sotheby's/ Christie's)|url=http://www.zentopia-culture.com/single-post/2017/01/13/2016-Top-20-Chinese-porcelain-auctions-Sothebys-Christies|website=www.zentopia-culture.com/|publisher=Leung Yi Ching|accessdate=15 January 2017}}</ref> The ''International Herald Tribune'' reported that Chinese ]s were fought over in the art market as "if there was no tomorrow".<ref>{{cite web|last=Melikian |first=Souren |url=http://www.iht.com/articles/2005/07/29/opinion/melik30.php |title=Disregarded yesterday; pricey Chinese art today. ''International Herald Tribune'' |work=International Herald Tribune |date=July 30, 2005 |accessdate=2011-11-13}}</ref> | |||
| A 1964 painting by ] ''"All the Mountains Blanketed in Red"'' was sold for HKD $35 million. Auctions were also held at Sotheby's where ]'s 1939 masterpiece ''"]"'' sold for HKD $72 million.<ref>Bloomberg."." ''Stanley Ho Buys Chinese Emperor's Throne for HK$13.7 Million.'' Retrieved 2007-05-30.</ref> The industry is not limited to fine arts, as many other types of contemporary pieces were also sold. In 2000, a number of Chinese artists were included in ] and the ] of 2003. China now has its own major contemporary art showcase with the Venice Biennale. ] was a notorious art exhibition which ran alongside the Shanghai Biennial Festival in 2000 and was curated by independent curator ] and contemporary artist ]. | |||
| ==Museums== | |||
| * ] (Beijing) | |||
| * ] (Forbidden City, Beijing) | |||
| * ] (Shanghai) | |||
| * ] (Shanghai) | |||
| * ] (Taipei, Taiwan) | |||
| ==See also== | |||
| * ] | |||
| * ] | |||
| ** ] | |||
| ** ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| ** ] | |||
| * ] | |||
| * ] | |||
| ==Notes== | |||
| {{Reflist|30em}} | |||
| ==References== | |||
| {{History of China |related |BC=1}} | |||
| * ] and Mae Anna Pang, ''Chinese Paintings of the Ming and Qing Dynasties'', Catalogue, 1981, International Cultural Corporation of Australia Ltd. | |||
| * ] (ed). ''The British Museum Book of Chinese Art'', 2007 (2nd edn), British Museum Press, {{ISBN|9780714124469}} | |||
| *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 | |||
| * ( 2009-10-31) | |||
| * | |||
| * | |||
| ==Further reading== | |||
| {{Commons category|Art of China}} | |||
| *Barnhart, Richard M., et al. ''Three Thousand Years of Chinese Painting''. Wadsworth Atheneum Museum of Art: 2002. {{ISBN|0-300-09447-7}}. | |||
| *Chi, Lillian, et al. ''A Dictionary of Chinese Ceramics''. Sun Tree Publishing: 2003. {{ISBN|981-04-6023-6}}. | |||
| *]. ''Art in China''. Oxford University Press: 1997. {{ISBN|0-19-284207-2}}. | |||
| *{{cite book |author=Fong, Wen | title= ''Sung and Yuan paintings'' | location=New York | publisher=The Metropolitan Museum of Art | year=1973 | isbn=0870990845 | url=http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/99012}} | |||
| *Gesterkamp, Lennert. | |||
| *Gowers, David, et al. ''Chinese Jade from the Neolithic to the Qing''. Art Media Resources: 2002. {{ISBN|1-58886-033-7}}. | |||
| *Ebrey, Patricia, et al. ''Taoism and the Arts of China''. University of California Press: 2000. {{ISBN|0-520-22784-0}}. | |||
| *Harper, Prudence Oliver. ''China: Dawn Of A Golden Age (200–750 AD)''. Yale University Press: 2004. {{ISBN|0-300-10487-1}}. | |||
| *{{cite book |author1=Leidy, Denise Patry |author2=Strahan, Donna | title=''Wisdom embodied: Chinese Buddhist and Daoist sculpture in the Metropolitan Museum of Art'' | location=New York | publisher=The Metropolitan Museum of Art | year=2010 | isbn=9781588393999 | url=http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/62659 }} | |||
| *Mascarelli, Gloria, and Robert Mascarelli. ''The Ceramics of China: 5000 BC to 1900 AD''. Schiffer Publishing: 2003. {{ISBN|0-7643-1843-8}}. | |||
| *Sturman, Peter Charles. ''Mi Fu: Style and the Art of Calligraphy in Northern Song China''. Yale University Press: 2004. {{ISBN|0-300-10487-1}}. | |||
| *Sullivan, Michael. ''The Arts of China''. Fourth edition. University of California Press: 2000. {{ISBN|0-520-21877-9}}. | |||
| *Tregear, Mary. ''Chinese Art''. Thames & Hudson: 1997. {{ISBN|0-500-20299-0}}. | |||
| *Valenstein, S. (1998). '''', Metropolitan Museum of Art, New York. {{ISBN|9780870995149}} . | |||
| *{{cite book |author=Watt, James C.Y. | title= ''China: dawn of a golden age, 200-750 AD'' | location=New York | publisher=The Metropolitan Museum of Art | year=2004 | isbn=1588391264|display-authors=etal | url=http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/56691/rec/1}} | |||
| *Watson, William. ''The Arts of China to AD 900''. Yale University Press: 1995. {{ISBN|0-300-05989-2}}. | |||
| * | |||
| ==External links== | |||
| * {{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }} - Dao of Calligraphy in English & Mandarin Chinese | |||
| * at LUX Mag | |||
| * at China Online Museum | |||
| * | |||
| * Introductions & art classics texts | |||
| * Essay on Chinese art from neolithic to communist times | |||
| * The Chinese Ancient Paintings | |||
| {{Asian topic|| art}} | |||
| {{Portal bar|China|Art}} | |||
| {{DEFAULTSORT:History Of Chinese Art}} | |||
| ] | |||
| ] | |||
Revision as of 05:51, 21 January 2018
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