內容大鋼
本書系統梳理中國古代美術自起源至明清時期的發展脈絡，同時兼顧中國繪畫基礎知識介紹，全面呈現中國古代美術在不同歷史階段的風貌與成就。本書特點如下。其一，脈絡清晰，以時間為序，將各個時期的美術現象置於特定的歷史背景中進行解讀，幫助讀者理解美術發展與社會變遷的緊密聯繫。其二，內容全面，兼具科普性與專業性，介紹中國美術的基礎知識的同時，講述中國美術的起源與發展、主題與象徵、技法與媒介等，展現中國古代美術的多元性。其三，通俗易懂，語言簡潔明了，避免過多專業術語的堆砌，同時配以豐富的案例介紹和分析，讓讀者能輕鬆走進中國古代美術的世界。本書以英文為載體，在對大量史料進行梳理和分析基礎上撰寫本書。在論述不同時期美術發展時，適當挖掘美術作品中蘊含的文化內涵和精神價值，將美術史與文化發展相結合，為讀者呈現一個更為立體、豐富的中國古代美術圖景。
目錄
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 (《人物龍鳳圖》): 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,《女史箴圖》): A Masterpiece of Eastern Jin Painting
5.3 Sui and Tang Dynasties
5.3.1 Spring Outing (《游春圖》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《天王送子圖》by Wu Daozi, Tang Dynasty)
5.4 Song Dynasty
5.4.1 Riverside Scene at Qingming Festival (Along the River during the Qingming Festival,《清明上河圖》by Zhang Zeduan)
5.4.2 A Thousand Li of Rivers and Mountains (《千里江山圖》by Wang Ximeng, 王希孟)
5.5 Yuan Dynasty
5.5.1 Dwelling in the Fuchun Mountains (《富春山居圖》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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