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内容大纲
本书系统梳理中国古代美术自起源至明清时期的发展脉络，同时兼顾中国绘画基础知识介绍，全面呈现中国古代美术在不同历史阶段的风貌与成就。本书特点如下。其一，脉络清晰，以时间为序，将各个时期的美术现象置于特定的历史背景中进行解读，帮助读者理解美术发展与社会变迁的紧密联系。其二，内容全面，兼具科普性与专业性，介绍中国美术的基础知识的同时，讲述中国美术的起源与发展、主题与象征、技法与媒介等，展现中国古代美术的多元性。其三，通俗易懂，语言简洁明了，避免过多专业术语的堆砌，同时配以丰富的案例介绍和分析，让读者能轻松走进中国古代美术的世界。本书以英文为载体，在对大量史料进行梳理和分析基础上撰写本书。在论述不同时期美术发展时，适当挖掘美术作品中蕴含的文化内涵和精神价值，将美术史与文化发展相结合，为读者呈现一个更为立体、丰富的中国古代美术图景。 -
作者介绍
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目录
Chapter 1 Introduction to Chinese Painting and Its Cultural Significance
1.1 Definition and Scope of Chinese Painting
1.1.1 Definition of Chinese Painting
1.1.2 Scope of Chinese Painting
1.1.3 Historical Evolution of the Scope of Chinese Painting
1.1.4 Significance of Defining the Scope of Chinese Painting
1.2 Cultural Significance of Chinese Painting
1.2.1 Visual Expression of Philosophical Thoughts
1.2.2 Iconographic Narrative of Social History
1.2.3 Concentrated Embodiment of Aesthetic Concepts
1.2.4 Vivid Witness of Cultural Integration
1.2.5 Carrier of Personality and Spirit
1.2.6 Living Cultural Heritage in Inheritance
1.3 Objectives and Structure of the Book
Chapter 2 Historical Evolution of Chinese Painting
2.1 Pre-Qin to the Han Dynasty: Ancient Origins
2.1.1 Pre-Qin Bronze Ware and Murals
2.1.2 The Image Stones and Image Bricks of the Han Dynasty
2.2 The Three Kingdoms, Two Jin Dynasties, and Northern and Southern Dynasties: The Emergence of Landscape and Figure Painting
2.2.1 Development of Painting Techniques: Lines and Space
2.2.2 Stylistic Differences Between Northern and Southern Dynasties
2.3 Sui, Tang, and Five Dynasties: Integration of Court and Folk Paintings
2.3.1 The Diverse Landscape of Court and Folk Art
2.3.2 The Collaborative Evolution of Figure Painting and Landscape Painting
2.4 Song Dynasty: The Rise of Literati Painting
2.4.1 Historical Background and Cultural Significance of Literati Painting
2.4.2 Social Function and Identity Recognition of Literati Painting
2.4.3 Artistic Characteristics of Literati Painting
2.4.4 Emergence and Development of Naturalism in Song Dynasty Literati Painting
2.5 Yuan Dynasty: The Idealization and Personal Style of Landscape Painting
2.5.1 Social Background of Yuan Dynasty Landscape Painting
2.5.2 Stylistic Features of Idealized Landscape Painting
2.5.3 Expression of Personal Style and Artistic Features
2.6 Ming Dynasty: Flourishing of Gongbi Painting and the Further Development of Expressive Landscape Painting
2.6.1 Diversification of Ming Dynasty Painting: The Coexistence of Gongbi and Expressive Painting
2.6.2 Prosperity of Court and Folk Painting in the Ming Dynasty
2.7 Qing Dynasty: Fusion and Innovation of Painting
2.7.1 Inheritance and Innovation: Combination of Court and Literati Painting
2.7.2 Concurrent Development of Gongbi and Xieyi Painting
2.7.3 Theme Innovation and Cultural Expression in Qing Dynasty Painting
Chapter 3 Techniques and Media of Chinese Painting
3.1 Brush, Ink, and Paper: The Three Core Elements of Chinese Painting
3.1.1 Brush: The Instrume
3.2.4 Philosophical Connotations and Holistic Integration
3.3 Gongbi (Fine Brushwork) and Xieyi (Freehand Brushwork)
3.3.1 Gongbi: A Model of Meticulous Resemblance in Form
3.3.2 Xieyi: A Spontaneous Expression of Resemblance in Spirit
3.3.3 Complementarity and Integration of Gongbi and Xieyi
3.4 Color Application and Mineral Pigments
3.4.1 Core Principles and Historical Evolution of Color Application in Chinese Painting
3.4.2 Types, Preparation, and Artistic Characteristics of Mineral Pigments
3.4.3 Mineral Pigments and Cultural Symbolism in Chinese Painting
Chapter 4 Cultural Themes and Symbolism of Chinese Painting
4.1 Landscape Painting: A Reflection of Taoist Philosophy
4.1.1 The Unity of Heaven and Humanity: The Spiritual Communion Between Humanity and Nature
4.1.2 Natural Inaction: Tao Follows Nature in Brush and Ink
4.1.3 Empty Quietness and Ethereal Distance: Taoist State of Mind in Artistic Conception
4.2 Flower-and-Bird Painting: Symbolism of Plants and Animals
4.2.1 Symbolism of Plants
4.2.2 Symbolism of Animals
4.3 Figure Painting: Depiction of Historical Figures and Social Life
4.3.1 Visual Narration of Historical Figures: Transmission of Spiritual Beliefs and Ethics
4.3.2 Image Records of Social Life: Features of the Times and All Aspects of People's Livelihood
4.3.3 Artistic Characteristics of Figure Painting: The Pursuit from Likeness in Form to Likeness in Spirit
4.4 Calligraphy and Seal Engraving in Chinese Painting
4.4.1 The Relationship Between Calligraphy and Chinese Painting
4.4.2 The Relationship Between Seal Engraving and Chinese Painting
4.4.3 The Integration of Calligraphy, Seal Engraving, and Chinese Painting
Chapter 5 Chinese Painters and Their Masterpieces
5.1 Ancient Origins
5.1.1 Murals
5.1.2 Image Stones and Image Bricks
5.2 The Three Kingdoms, Two Jin Dynasties, and Northern and Southern Dynasties
5.2.1 The Dragon and Phoenix Figures (《人物龙凤图》): Unveiling the Mysterious Code of Pre-Qin Painting
5.2.2 The Admonitions of the Court Instructress (Admonitions Scroll for Court Ladies or Nishi Zhen Tu,《女史箴图》): A Masterpiece of Eastern Jin Painting
5.3 Sui and Tang Dynasties
5.3.1 Spring Outing (《游春图》by Zhan Ziqian, Sui Dynasty)
5.3.2 The Picture of the Heavenly King Receiving the Son (The Admonitions of the Buddhist Nun or Songzi Tianwang Tu《天王送子图》by Wu Daozi, Tang Dynasty)
5.4 Song Dynasty
5.4.1 Riverside Scene at Qingming Festival (Along the River during the Qingming Festival,《清明上河图》by Zhang Zeduan)
5.4.2 A Thousand Li of Rivers and Mountains (《千里江山图》by Wang Ximeng, 王希孟)
5.5 Yuan Dynasty
5.5.1 Dwelling in the Fuchun Mountains (《富春山居图》by Hua
6.1.2 The Unique Contribution of Chinese Painting to the World's Art Treasury
6.1.3 The Role of Chinese Painting as a Bridge in Cross-Cultural Communication
6.2 Challenges in the Inheritance and Future Paths of Chinese Painting
6.2.1 Core Challenges in Contemporary Inheritance
6.2.2 Practical Paths for Inheritance and Protection
6.2.3 Innovative Development Directions in the Digital Age
6.2.4 Core Principles for Future Development
References
Epilogue
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