中国绘画艺术

Preface

From Gu Kaizhi to Wu Daozi

Tomb Chamber Paintings

The Most Romantic Painting

"Communication of the Soul"

Spring Outing （You-Chun TU）

Emperors of Great Prosperity

Another Figure Painting

"The Painting Saga"

Famous Paintings Record of Past Dynasties （Li-dai ming-hua ji）

Desert Treasures

Buddhism Going East

Dunhuang Mogao Caves

Lucid Mountains and Remote Streams

Northern Painters and Southern Painters

Song Huizong and his period

Along the River During the Oingming Festival

（Oingming Shanghe Tu）

Panorama Shanshui

Su Shi and Mi Fu

Scholar Paintings

Zhao Mengfu and "Four Masters of the Yuan Dynasty"

Plum Blossom， Orchid， Bamboo and Stone

"The Southern and Northern Sects"

"Four Monks" and "Four Wangs"

The End of Scholar Paintings and Famous Chinese Painters of

Modern Times

Modern Chinese Paintings

Painters Studying Abroad

Revolutionary Realism

"Modern" and "Post-Modern"

Appendix： Chronological Table of the Chinese

Dynastie

Traditional Chinese painting was fundamentally an abstractModel art form.Although there were no absolute abstractModel Chinese paintings in its original meaning， objects in a painting were not a direct copy of the nature world following the principle of perspective. It was rather a combination or harmony between the nature world and human emotion， a product of "heaven （nature） and human". The effect Chinese painters would like to illustrate in their paintings was not a visual effect of colors and patterns as their Western counterparts would like to achieve. The description of objects in their paintings was no means accurate and few concerned about such factors as colors， principle of perspective， anatomy， surface feel， and relative size. What they would like to achieve was a world in their mind of non materials. The nature world was not an object for them to make a true copy and it was rather elements for them to build their own world.