What to do if the terminology of Chinese art history is wrongly spelled
Research on Chinese art history is mainly conducted by overseas scholars. In-depth and detailed supplements should be made to the key areas of research. Painted pottery totems , Qin and Han tomb concepts, political metaphors in Song Dynasty paintings, style judgments in Song and Yuan paintings, patrons in the Ming and Qing Dynasties, and the integration process of Eastern and Western art from the Ming and Qing Dynasties to modern times, etc., are all very important academic research areas. Some of the more typical architecture, crafts, and sculptures cannot be ignored and require hard work.
The first prehistoric and pre-Qin art
Pottery
Painted pottery
Black pottery (early Ming ware)
Yangshao Culture (Banpo type: painted pottery basin with three fish pattern/pottery pot with human face and fish pattern) (Type of Miaodigou: stork stone ax picture)
Majiayao Culture (note the differences in painted pottery between different cultures Evolution of style and changes in the meaning of totems)
Jade
Jasper Dragon (Evolution of the Function of Jade: Divine Jade - Ritual Jade Culture)
Liangzhu Daye Cong (the inheritance and evolutionary relationship between jade cong and Taotie decorations)
Witch history and totem worship
Clay goddess statues (Witch history culture and matrilineal society)
Bronze ware
Taotie pattern
Stepmother Wu tripod
Fang tripod with breast nail pattern/Maogong tripod
Lianhe square pot (style transition and evolution , lost wax method)
Sumbling and feasting to capture the patterned copper pot (towards secular themes)
(The evolution and reasons of bronze shapes and patterns during the Xia, Shang and Zhou dynasties)
The embodiment of hidden rituals and vessels in bronze civilization
Civilizations outside of Middle-earth
Siyang Fangzun/Tiger Cannibal Zun
Sanxingdui Bronze God Face Like
Funeral Civilization
Warring States Period Silk Paintings (Silk Paintings of Characters Royal Dragons, Silk Paintings of Dragons and Phoenixes)
Secular Civilization
Lacquer Paintings of Characters, Cars and Horses Travel Map
Lacquer Painted Nuo Ceremony Map
Early Text
Oracle Bone Inscriptions
Bronze Inscriptions
Shigu Inscriptions
p>Pre-Qin theory
Making people aware of the traitors of gods
Painting the facts after the fact
Undressing the majestic
Dayinxi Sound, invisible elephants
Part 2 Qin and Han Fine Arts
Funeral and Sacrificial Culture
The evolution of Qin and Han tomb murals and tomb forms (from ideas, content, Grasp the core changes in style)
T-shaped silk painting (an advanced form of funeral silk painting)
Wuliang Temple portrait stone (see the research supplement of Wu Hong's paper "Wuliang Temple") < /p>
Comparison of images of horses trampling on Xiongnu and horses trampling on flying swallows
Warding off evil spirits/Tianlu/Shique
Immortal thoughts
Huo Qubing’s tomb and Immortal Thoughts Between Boshan Lu
Qian Shu/Yu Ren/Tian Ma
Qin and Han Calligraphy
Qin Seal
Han Seal/ Li/Cao
Bird Qi
Plain gauze single clothes/Changxin palace lantern/Bronze mirror
Qin and Han theory
Jun-shaped person
p>
Part Three: Fine Arts of the Wei, Jin, Southern and Northern Dynasties, Sui and Tang Dynasties
Paintings of the Wei, Jin, Southern and Northern Dynasties
Problems of Consciousness in Calligraphy and Painting in the Wei, Jin, Southern and Northern Dynasties
Wei, Jin, Southern and Northern Dynasties and the Qin and Han Dynasties The issue of artistic transformation
Gu Kaizhi’s art and theory
The changes and understanding of the concept of expressionism in the past dynasties
The evolution clues of the two bodies of "density and density" in the past dynasties of China
Study on Yang Zihua's "Northern Qi School Book Picture" and Lou Rui's Tomb Murals
Painting Design of the Yan Family and the Royal Family
Yan Liben's "Stepping Chariot Picture"/" "Pictures of Emperors of the Past Dynasties" (connected with the emperor statues in Dunhuang Mogao Grottoes and the traditional style of emperor paralysis)
Wu Daozi's "Picture of Farewell to the Heavenly King" and Orchid Leaf Drawing/Wu Dai Dangfeng, Cao Yichushui
Wu Family Model, Zhang Family Model, Cao Family Model, Zhou Family Model - Four Models
The development and evolution of lady paintings
Zhang Xuan "The Lady of Guo State's Spring Outing" and "Pounding Practice"/Zhou Fang's "Ladies Waving Fans" and "Ladies with Hairpins"
Zhan Ziqian's "Spring Outing", Li's Father and Son and Big Green Landscape Painting
Han Gan's "Herding Horses" and "White Night"/Han Huan's "Five Cows"
Tomb paintings and artifacts
The Seven Sages of the Bamboo Grove and Rong Qiqi Brick paintings
Line carvings in the Ningmao Stone Chamber
Stone carvings on the filial son's coffin - changes in the image of filial sons in the past dynasties
The lacquer painting screen of Sima Jinlong's tomb and the "Lady's Admonitions" ” (See Wu Hong’s book "Chongping")
Tang Sancai/Six Horses of Zhaoling/Shunling Stone Lion
Portrait of the Tang Dynasty
Chang'an City of Tang Dynasty/ Tang Dynasty gold and silverware/
Lingyang Gongxian/gilt silver bronze pot with dancing horse and cup/Tang mirror
Painting theory of Wei, Jin, Sui and Tang Dynasties
Gu Kaizhi’s painting theory (the role of the concept of form and spirit in the history of painting theory Changes)
Xie He and the "Six Methods" (see the supplement of "History of Chinese Painting Theory")
Changes in the evaluation standards of Chinese paintings-four frames and five grades
Zong Bing's "Preface to Painting Landscapes" and its influence on the concept of Chinese landscape painting
Yao Zui "learned from nature" and Zhang Hong "learned from nature and got Xinyuan from outside" (Changes in China's subjective and objective evaluation standards )
Painting theory by Pei Xiaoyuan, Zhu Jingxuan, Zhang Yanyuan and others
Calligraphy of Wei, Jin, Sui and Tang Dynasties
Wang Xizhi's "Preface to the Lanting Collection" and "Two Kings"
< p>Yan Jin Liu GuDian Zhang Kuang Su
Buddhist Relics of Wei, Jin, Sui and Tang Dynasties
Kizil Grottoes/Dunhuang Mogao Grottoes
The development and evolution of Buddhist art from the Wei, Jin, Southern and Northern Dynasties to the Sui and Tang Dynasties
Yungang Grottoes—Tanyao Five Grottoes
Longmen Grottoes and the Lucena Buddha
Songyue Temple Pagoda/Foguang Temple
Part 4: Fine Arts of the Five Dynasties, Song and Yuan Dynasties
Paintings of the Five Dynasties, Song and Yuan Dynasties
Figure Painting
Zhou Wenju's "Chongqing" "Chess on the Screen" and "Palace in the Palace"
Gu Hongzhong's "Han Xizai's Night Banquet" (see Wu Hong's "Double Screen" for an in-depth understanding of the background of the painting, the significance and connotation of the media materials, etc.)
p>The development and evolution of Li Gonglin's "Five Horses", "Linwei Yan Mu Herding" and white drawings
Wu Zongyuan's "Chaoyuan Immortal Battle"
Zhang Zeduan's "Qingming Festival" "Along the River"/Su Hanchen's "Autumn Courtyard Playing with Babies"/Li Song's "Purchaser"
The development and reasons of genre painting in the Song Dynasty
Chen Juzhong and Zhang Yu's "Wen Ji Returns to the Han Dynasty" Pictures》
Reduced-stroke Figure Painting and Liang Kai
Landscape Painting
Jingguan Dong Ju and the Establishment of the North-South Landscape Schema
Dong Yuan The historical status of the creation of the problem
The development and changes of the Cun method in the past dynasties
Li Cheng's "Reading Stone Tablets" and the influence of the Li Guo School and later generations
Fan Kuan's "Travel in Streams and Mountains" (media materials, political metaphors, historical background of the work, etc.)
Historical changes in the meaning of "Three Family Landscapes"
Guo Xi's "Early Spring"
p>
The connotative metaphor of Wang Ximeng's "Thousands of Miles of Rivers and Mountains" and "The Wonders of Xiaoxiang"
Mi Youren and Mi Yunshan - "The Wonders of Xiaoxiang" (In-depth understanding of Xiaoxiang-themed paintings) Political metaphors and the alternative meanings of "cloud and mountain" themes in paintings of the past dynasties)
Zhao Lingxiang's "Huzhuang Qingxia Picture" and Xiaojing Landscape
Li Tang's "Wanhe Pine Wind Picture" ", "Picture of Picking Wei" (refer to Huang Xiaofeng's research on "Picture of Picking Wei")
Four Schools of the Southern Song Dynasty - Changes of Landscape Painting in the Southern Song and Northern Song Dynasties
The development of landscape paintings in the Song and Yuan Dynasties in the Five Dynasties Changes/Comparison between courtyard landscapes and literati landscapes
Chinese painters and patrons (see Gao Juhan's "A Painter's Life") and the issue of chronological style of landscape painting (see Fang Wen's "Heart Seal")
< p>Two typical style orientations of Zhao MengfuQian Xuan's "Dwelling in the Floating Jade Mountain" and "Xi Zhi Watching Goose" - "Li (Li) Family Painting" and "Expert Painting"
< p>Gao Kegong's "Yunheng Xiuling Picture" (focusing on the difference and connection with Mi's Yunshan)The relationship between the four Yuan schools and literati painting
Ni Zan's schema The influence of Chinese painting on the Ming and Qing dynasties
Comparison of the sparse and dense painting styles of Wang Meng and Ni Zan
On Painting Theory of the Five Dynasties, Song and Yuan Dynasties
Jing Hao's "Brushwork Notes" The inheritance and development of the "Six Essentials" to the "Six Methods", as well as the impact of several key issues on the landscape of later generations.
The expression of "three distances" in Chinese paintings in "Linquan Gaozhi"
Guo Ruoxu's "Pictures and Knowledge" (focusing on the conclusion of the combination of charm and character and its influence on later generations) The influence of judgment)
Su Shi's theory and its influence on literati painting
Qian Xuan's "morale" theory
Zhao Mengfu's "Ancient Meaning Theory" and "Calligraphy and Painting" "Same origin"
Ni Zan and "Yibi Caocao" "Self-Entertainment Theory"
Flower and Bird Painting
The Huang family is rich and noble, Xu Xi is wild and relaxed
< p>Cui Bai's "Double Happiness"The theme and style preferences of Zhao Ji's flower and bird paintings and the institutional issues of Hanlin Painting Academy
Fa Chang and Zen flower and bird paintings