中国艺术研究关连书籍目录
Painting

Acker, William Reynolds Beal. Some Tang and pre-Tang Texts on Chinese Painting. Reprint ed. Westport, CT: Hyperion Press, 1979, 1954-1974. Originally published in Leiden, The Netherlands, by Brill in 1954-1974, in Sinica Leidensia, no. 8 and 12, part 1, it contains translation and annotations of Zhang Yanyuans (9th cent.)Lidai minghuaji, chapter 4-10., a significant work for studying Tang and pre-Tang painting.

Barnhart, Richard M. Peach Blossom Spring: Garden and Flowers in Chinese Paintings. New York: The Metropolitan Museum of Art, 1983. A catalog of an exhibition of flower-and bird and garden paintings which direct ones attention to nature and its detail. The title originates from the fifth-century poet Tao Jian who believed that the ideal paradise on earth could exist at Peach Blossom Spring.

Barnhart, Richard M. Along the Border of Heaven: Sung and Yüan Painting from the C. C. Wang Family Collection. New York: The Metropolitan Museum of Art, 1983.Catalog of the private collection of C. C. Wang, one of the best known collectors of Chinese art, living in New York.

Barnhart, Richard M. Painters of the Great Ming: The Imperial Court and the Zhe School. Dallas: The Dallas Museum of Art, 1993. A catalog of an exhibition at the Met and Dallas Museum of Art (its first major Asian art exhibition) in 1993, investigating the work of the professional painters of the Ming dynasty who came from the area of Zhejiang and whose works created a regional style, called the Zhe School.

Barnhart, Richard M. The Jade Studio: Masterpieces of Ming and Qing Painting and Calligraphy from the Wong Nan-p=ing Collection. New Haven: Yale University Press, 1993. Catalog and exhibition of a private collection formed in the 2nd half of the 20th century, of Ming and Qing painting and calligraphy, illustrating the canon of orthodox painting in China between 1450 and 1850.

Barnhart, Richard M. Wen C. Fong and Maxwell K. Hearn. Mandate of Heaven: Emperors and Artists in China: Chinese Painting and Calligraphy from the Metropolitan Museum of Art, New York. Zurich: Museum Rietberg, 1996. Catalog of an exhibition held at Rietberg Museum in 1996 of 42 of the finest pieces from the Metropolitan Museum, focusing on imperial patronage (with paintings formerly in imperial collections) as well as literati paintings.

Barnhart, Richard M. et al. Three Thousand Years of Chinese Painting. New Haven, CT: Yale University Press, 1997. Hailed as a historical publishing event, the book was the first volume of a 75-book series called The Culture & Civilization of China, a joint publishing venture of Yale and a Chinese publishing group. Written by six scholars, the book serves as a textbook, tracing the history of Chinese painting from the Neolithic flower and animal designs painted on pottery, rocks and murals to the 20th century, highlighting painting traditions, trends, major artists and regions where Chinese painting flourished.

Bickford, Maggie. Ink Plum: The Making of a Chinese Scholar-painting Genre. Cambridge: Cambridge University Press, 1996. Based on her 1988 dissertation, the work discusses the origins and evolution of a new painting genre within the cultural context of flowering plum that had become a definitive stylistic and iconographic form by the 14th century.

Brinker, Helmut. Zen in the Art of Painting [Zen in der Kunst des Malens. English] New York: Arkana, 1987. Discusses Zen painting of China and Japan with a bibliography.

Brown, Claudia & Ju-hsi Chou. Transcending Turmoil: Painting at the Close of Chinas Empire, 1796-1911. Phoenix: Phoenix Art Museum, 1992. An exhibition catalog, the work provides a systematic overview of the 19th-century painting in China, a period which had not been well researched, with discussions on the fusion of pictorial, calligraphic and seal-carving aesthetics.

Bush, Susan. The Chinese Literati on Painting: Su Shih (1037-1101) to Tung Chi-chang (1555-1636). Cambridge: Harvard University Press, 1971. Examines scholarly writings of different periods of art, from Northern Song (960-1127) with the views of the literati and their influence, the Yüan dynasty with the literati=s art theory, to the Ming dynasty.

Bush, Susan. and Hsio-yen Shih. compiled and edited. Early Chinese Texts on Painting. Cambridge, MA: Harvard University Press, 1985. A useful sourcebook superseding Siren=s Chinese on the Art of Painting in accuracy. The work is to Ahelp western readers understand the cultural context in which the Chinese themselves have understood their painting.

Cahill, James. Chinese Painting. Reprint ed. New York: Rizzoli, 1985, 1960. By the former curator at the Freer Gallery of Art and professor at the University of California at Berkeley, the book gives a historic survey of Chinese painting.

Cahill, James. Hills Beyond a River: Chinese Painting of the Yuan Dynasty, 1279-1368. New York: Weatherhill, 1976. Together with the following two titles, this work is the first of the series, providing a historical survey of one particular period.

Cahill, James. Parting at the shore: Chinese painting of the early and middle Ming dynasty, 1368-1580. New York: Weatherhill, 1978. Second of the above-mentioned series.

Cahill, James. The Distant Mountains: Chinese Painting of the Late Ming Dynasty, 1570-1644. New York: Weatherhill, 1982. Third of the above-mentioned series. The author=s 1971 work entitled Restless Landscape also discusses late Ming painting.

Cahill, James. An Index of Early Chinese Painters and Paintings: Tang, Sung, and Yüan. Berkeley: University of California Press, 1980. Incorporating the work of Osvald Siren and Ellen Johnston Laing, the work provides an index of all Chinese paintings of those periods, known to the author. Arranged by period, biographical information is given for each artist and lists of works grouped by collection or publication. Index for the later dynasties (Ming and Qing) was planned but not published.

Cahill, James. The Compelling Image: Nature and Style in Seventeenth-century Chinese Painting. Cambridge, MA: Harvard University Press, 1982. The work covers one century, focusing on Anature and style@ of painting as a matter of personal expression, modes of seeing, and formal choices.

Cahill, James.Three Alternative Histories of Chinese Painting. Lawrence, KS: Spencer Museum of Art, 1988. Growing out of a distinguished lecture series, the work looks at Chinese painting chiefly of the Ming and Qing periods from three different perspectives: political themes and uses of painting, ideological and social implications of subject matter, and style.

Cahill, James. The Painters Practice: How Artists Lived and Worked in Traditional China. New York: Columbia University Press, 1994. The work takes a socioeconomic approach, examining painting in the light of artist-patron relationships, workshop practices, market conditions and other practical constraints and incentives.

Cahill, James. The Lyric Journey: Poetic Painting in China and Japan. Cambridge, MA: Harvard University Press, 1996. In addition to a discussion of the Edo-period Japanese painting, the work discusses poetic painting from the 12th-century Southern Song and 16th-17th century late Ming periods. The chapters were originally three Reischauer lectures in 1993.

Chen, Pao-chen. The Goddess of the Lo River: a Study of Early Chinese Narrative Handscrolls. Ph.D. thesis Princeton University, 1987. The study compares three Song period copies of a late 16th century composition illustrating the famous poem, Luoshenfu, the Lo River Goddess, by Cao Zhi, for their composition, iconography, style and calligraphy.

Chou, Ju-hsi. Elegant Brush: Chinese Painting under the Qianlong Emperor, 1735-1795. Phoenix: Phoenix Art Museum, 1985. Catalog of an exhibition focusing on the Ming and Qing paintings and the Emperor Qianlong=s art patronage.

Chou, Ju-hsi. Heritage of the Brush. Phoenix: Phoenix Art Museum, 1989. & Scent of Ink: The Roy and Marilyn Papp Collection of Chinese Painting. Phoenix: Phoenix Art Museum, 1994. & Journeys on Paper and Silk: The Roy and Marilyn Papp Collection of Chinese Painting. Phoenix: Phoenix Art Museum, 1998. Journeys on Paper and Silk is a companion volume to Heritage of the Brush and Scent of Ink. All three works feature the Papp collection of Chinese painting of the Ming and Qing dynasties, to document the museum=s new acquisition.

Chagoku Kaiga Sogo Zuroku Comprehensive Illustrated Catalogue of Chinese Painting. Tokyo: Tokyo Daigaku Shuppankai, 1982-1983. 5-volume Japanese publication has English preface, explanatory notes and table of contents. It lists Chinese paintings in American and Canadian, Southeast Asian and European, and Japanese collections, with index.
Chagoku Kaiga Sogo Zuroku Zokuhen Comprehensive Illustrated Catalogue of Chinese Painting. 2nd series, compiled by Toda Teisuke, Ogawa Hiromitsu. Tokyo: Tokyo Daigaku Shuppankai, 1998-。So far two volumes have been published, listing American, Canadian, Asian and European collections.

Edwards, Richard. The World Around the Chinese Artist: Aspects of Realism in Chinese Painting. Ann Arbor, MI: University of Michigan, 1987. Resulting from three lectures at the University of Michigan, three great painters are discussed (Xia Gui, Shen Zhou and Shitao) with one theme: the relationship between the artist and the world around the artist, between the physical reality of the world and the subjective vision of the artist.

Ellsworth, Robert Hatfield. Later Chinese Painting and Calligraphy, 1800-1950. New York: Random House, 1986. 3-volume catalog of the authors collection consisting chiefly of illustrations.

Farrer, Anne. The Brush Dances & the Ink Sings: Chinese Paintings and Calligraphy from the British Museum. London: Hayward Gallery, 1990. Catalog of an exhibition sponsored both by the British Museum and the Hayward Gallery, where David Hockneys A Day on the Grand Canal with the Emperor of China was also shown.

Flowering in the Shadows: Women in the History of Chinese and Japanese Painting, edited by Marsha Weidner. Honolulu: University of Hawaii Press, 1990. However little known or rarely written about, women were active as artists in both China and Japan. The articles, brought together by the editor, complement the catalog of the exhibition Views from Jade Terrace: Chinese Women Artists, 1300-1912.

Fong, Wen ... [et al.] Images of the Mind: Selections from the Edward L. Elliott Family and John B. Elliott Collections of Chinese Calligraphy and Painting at the Art Museum, Princeton University. Princeton: Art Museum, Princeton University, 1984. Exhibition catalog of a fine collection of Chinese painting and calligraphy mainly from the Ming and Qing dynasties.

Fong, Wen Beyond Representation: Chinese Painting and Calligraphy 8th-14th Century. New York: The Metropolitan Museum of Art ; New Haven: Yale University Pres, 1992. A historical survey of early Chinese painting and calligraphy from the Tang and Song to the Yuan dynasty, based on a selection of masterpieces at the Metropolitan Museum, covering a range of themes, such as narrative representation, monumental landscape, literati painting, Song imperial art, Southern Song painting, Buddhist and Daoist themes, Yuan renaissance and literati painting.

Fong, Wen and James C. Y. Watt. Possessing the Past: Treasures from the National Palace Museum, Taipei. New York: The Metropolitan Museum of Art and National Palace Museum, 1996. Published on the occasion of one of the largest scale exhibitions of Chinese art with rarely seen masterpieces from the National Palace Museum. The 648-page catalog provides background information on the foundations of Chinese civilization and basic cultural features for dynasties from the Song to the Qing for cross-cultural understanding of Chinese art. The catalog of the exhibition is entitled Splendors of Imperial China: Treasures from the National Palace Museum, Taipei, by Maxwell K. Hearn. A symposium was held for the occasion and the papers were published with the title: Arts of the Sung and Yüan, edited by Maxwell K. Hearn and Judith G. Smith.

Fu, Shen and Marilyn Fu. Studies in Connoisseurship: Chinese Paintings from the Arthur M. Sackler Collection in New York and Princeton. Princeton: Art Museum, Princeton University, 1973. Catalog of a traveling exhibition of Dr. Sacklers collection during 1973-75, the discussion of issues regarding connoisseurship and criteria for authenticity are very useful.

Giacalone, Vito. The Eccentric Painters of Yangzhou. New York: China House Gallery, 1990. Catalog of an exhibition focusing on a group of Qing painters known as Eight Eccentrics of Yangzhou.

Gulik, Robert H. van. Chinese Pictorial Art as Viewed by the Connoisseur. Rome: Istituto Italiano per Medio ed Estremo Oriente, 1958. As the additional title information indicates the work discusses the Ameans and methods of traditional Chinese connoisseurship of pictorial art, based upon a study of the art of mounting scrolls in China and Japan.@ The second part discusses brush strokes, pigments, basic principles for identifying scrolls, seals, and aspects of collecting. Still widely used, especially by painting conservators.

Harrist, Robert E. Painting and Private Life in Eleventh-century China: Mountain Villa by Li Gonglin. Princeton: Princeton University Press, 1998. The focus of Chinese painting in the 11th century (Northern Song) shifted from the earlier works shared heritage of political, religious and literary themes to reflections of personal experience, inspiration by the painters restless imagination and intense observation of nature. The Mountain Villa, a handscroll by Li Gonglin (ca. 1041-1106), is, according to the author, most representative of the period.

Ho, Wai-kam, et al. The Chinese Scholars Studio. New York: The Asia Society Galleries, 1987. An exhibition catalog focusing on the 17th-century Chinese art of the scholar class, illustrating objects, many of them paintings, from the collections of the Shanghai Museum.

Ho, Wai-kam, et al. Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art, with essays by Wai-kam Ho ... [et al.] Cleveland: The Cleveland Museum of Art, 1980. Catalog of a joint exhibition of two of the finest museums whose painting collections complement each other. The large scale exhibition held from Nov. 1980 to Mar. 1981 was the first such exhibition since 1960s.

Ho, Wai-kam, Judith G. Smith. The Century of Tung Chi-chang, 1555-1636, Kansas City: The Nelson-Atkins Museum of Art, 1992. Produced as the catalog of an exhibition organized by the Nelson-Atkins displaying 55 paintings, 19 calligraphic works, and 34 model writings in rubbings of Dong Qi-chang, the most important and influential Ming painter both in theory and in practice. The volumes are an invaluable reference tool of images, information, interpretation, and historiography for the study of scholar-amateur painting in the later Ming and early Qing. (It was the first Shimada, 1907-1994, prize winner in 1993.) Proceedings of the Tung Chi-chang International Symposium, published by the Nelson-Atkins Museum, Kansas City, in 1991, also edited by Wai-kam Ho, contains papers delivered at the symposium.

Lachman, Charles Henry. Evaluations of Sung Dynasty Painters of Renown: Liu Tao-chuns Sung-chao ming-hua ping, [Toung pao monographie ; 16], translated with an introduction by Charles Lachman. Leiden, The Netherlands: Brill, 1989. Understanding of Chinese painting must be based, to a large extent, on historical records and writings by Chinese critics. This translation of a work written in 1059 consists of a collection of biographical sketches and critical comments for 91 painters of the 10th and 11th centuries. The work was originally the author=s dissertation.

Laing, Ellen Johnston. An Index to Reproductions of Paintings by Twentieth Century Chinese Artists (Asian Studies Program publication ; no. 6). Eugene, OR: Asian Studies Program, University of Oregon, 1984. Covers the time period of 1912 to around 1980 and includes about 3500 artists, listing their works reproduced in Chinese publications, and biographical information. These are mostly artists of traditional style.

Li, Chu-tsing Artists and Patrons: Some Social and Economic Aspects of Chinese Painting, Kansas City: University of Kansas, The Nelson-Atkins Museum of Art, 1989. As the result of the Workshop on Chinese Painting at the Nelson-Atkins Museum of Art in 1980, in conjunction with the exhibition, Eight Dynasties of Chinese Painting, this work contains 16 papers and a special lecture by James Cahill, covering the social and economical aspects of Chinese painting from the Song to the late Qing dynasties, mainly on court patronage and patronage in various cities. Papers of the last session on Chinese art collecting are not included.

Li, Chu-tsing. Trends in Modern Chinese Painting: the C. A. Drenowatz Collection (Artibus Asiae supplement ; 36). Ascona, Switzerland: Artibus Asiae, 1979. Discussion of the Ming and Qing paintings in the Drenowatz collection was published in 1974 entitled A Thousand Peaks and Myriad Ravines. This publication is concerned with contemporary Chinese painters. The author outlines new elements of the 20th century Chinese painting, discusses traditionalism in Peking, innovation in Shanghai and modernization in Canton. Individual artists are discussed in detail. Their styles are mostly traditional.

Loehr, Max. The Great Painters of China. New York: Harper & Row, 1980. A concise survey of Chinese painting, with a bibliography.

Lust, John. Chinese Popular Prints [Handbook of Oriental Studies ; 4]. Leiden, The Netherlands: Brill, 1996. There has been more interest in Chinese woodblock prints but one can find very little scholarly work on the subject. This extensive work with bibliographical references and index gives a historical survey of Chinese popular prints, covering mainly the Ming and Qing periods, with three centers, Suzhou, Yangliuqing and Mianzhu. It provides extensive information on printmaking, types of popular prints, techniques, and some of the most popular images used in prints, such as the Eight Immortals, Door Gods, Fortune Gods, Kitchen God.

Maeda, Robert J. Two Sung Texts on Chinese Painting and the Landscape Styles of the 11th and 12th Centuries. New York: Garland, 1978. Originally a Ph.D. thesis at Harvard in 1969, the work is a translation with annotations of two texts entitled Shanshui chunquanji (1121) by Han Zho, devoted to landscape painting, and Huaji (1167) by Deng Chun containing information on Emperor Huizong=s painting academy in the later Northern Song period.

Munakata, Kiyohiko. Sacred Mountains in Chinese Art. Urbana: University of Illinois Press,1991. A catalog of an exhibition at Krannert Art Museum and at the Metropolitan Museum, it analyzes the religious concepts surrounding the early development of landscape art and the secularization in later times of the depiction of mountains, which is significant for the study of Chinese painting.

Po, Sung-nien and David Johnson. Domesticated Deities and Auspicious Emblems: the Iconography of Everyday Life in Village China. Berkeley: Chinese Popular Culture Project, 1992. Using popular prints and papercuts in the collection of Bo Songnian, the work represents a growing interest in Chinese popular culture with great regional diversity. These prints, especially New Year pictures, and papercuts used by ordinary people for religious and auspicious blessings as well as for home decoration, also reflect their lives and their aesthetic tastes.

Po, Sung-nien. Chinese New Year Pictures. Beijing: Cultural Relics Pub. House, 1996. Translated from Chinese, the work gives a general survey of Chinese New Year folk paintings and prints, consisting chiefly of colored illustrations.

Silbergeld, Jerome. Chinese Painting Style: Media, Methods, and Principles of Form. Seattle: University of Washington Press, 1982. Originally written for the author=s students, the work focuses on painting techniques, introducing painting materials, format, elements of painting, and compositions.
The Single Brushstroke: 600 Years of Chinese Painting from the Ching Yüan Chai Collection. Vancouver, B.C.: Vancouver Art Gallery, 1985. Catalog of an exhibition at Vancouver Art Gallery (whose responsibility had been exclusively for western art), showing for the first time works from James Cahills private collection, with an introduction by James O. Caswell.

Siren, Osvald. Chinese Painting: Leading Masters and Principles. New York: Ronald Press, 1956-1958.The 7-volume work is still a good reference source.

Solonin, K.Y. 19th Century Paintings of Life in China. Reading, U.K.: Garnet, 1995. Catalog containing illustrations of paintings in the collection of the Institute of Oriental Studies in St. Petersburg, Russia, depicting life in China. The collections are called Bretschneider (1833-1901) albums.

Stanley-Baker, Joan. Transmission of Chinese Idealist Painting to Japan: Notes on the Early Phase (1661-1799). Ann Arbor, Mich.: Center for Japanese Studies, University of Michigan, 1992. Mainly deals with Chinese influence on Japanese painting.

Sullivan, Michael. Symbols of Eternity: The Art of Landscape Painting in China. Stanford: Stanford University Press, 1979. The book, grown out of the author=s lectures at Stanford, gives an overview of the history of Chinese landscape painting from pre-Tang to the 20th century.

Sullivan, Michael. Chinese Landscape Painting. V. II: The Sui and Tang Dynasties. Berkeley: University of California Press, 1980. A continuation of the authors earlier work, The Birth of Landscape Painting in China, published in 1962, covering the periods from 581 to 907.

Sullivan, Michael. Three Perfections: Chinese Painting, Poetry and Calligraphy. New York: Braziller, 1980, 1999 reprint. As the subtitle indicates, the work discusses the interrelationship of painting, poetry and calligraphy.

Weidner, Marsha. Painting and Patronage at the Mongol Court of China, 1260-1368. Ph.D. thesis, University of California at Berkeley, 1982. The study discusses painting in the Yuan dynasty, the official collections, and imperial patronage, focusing on three Yuan artists.

Weidner, Marsha. Views from Jade Terrace: Chinese Women Artists 1300-1912. Indianapolis: Indianapolis Museum of Art; New York: Rizzoli, 1988. Catalog of a traveling exhibition displaying paintings of Chinese women artists.

Whitfield, Roderick. Fascination of Nature: Plants and Insects in Chinese Painting and Ceramics of the Yuan Dynasty (1279-1368). Seoul: Yekyong Publications, 1993. Discusses the 14th-century artist Xie Zhufang and the motifs and themes in his work. Vol. 2 is the painter=s work Jiankun shengyi issued in a folded handscroll.

Wu, Hung. The Double Screen: Medium and Representation in Chinese Painting. Chicago: The University of Chicago Press, 1996. The work offers a different approach to understanding Chinese painting: A painting is not only a pictorial representation, but also has a physical form. The screen is used as example, that is, a screen can be an object, a painting medium, a pictorial representation, or all three.

Wu, Tung. Tales from the Land of Dragons: 1000 Years of Chinese Painting. Boston: Museum of Fine Arts, Boston, 1997. Published in conjunction with the 1997 exhibition at the Museum, one of the earliest and finest collections, the first comprehensive exhibition of early Chinese painting in nearly a century. 153 pieces, including some earliest and one only extant example of the kind, were on display.

Wu, Tung. Masterpieces of Chinese Painting from the Museum of Fine Arts Boston: Tang Through Yuan Dynasties. Tokyo: Otsuka Kogeisha, 1996. 2-volume deluxe catalog of the collection, upon which most of the entries in the above exhibition catalog are based.

Yü, Fei-an. Chinese Painting Colors: Studies of Their Preparation and Application in Traditional and Modern Times [Chung-kuo hua yen se ti yen chiu. English], translated by Jerome Silbergeld and Amy McNair. Hong Kong: Hong Kong University Press; Seattle: University of Washington Press, 1988. The work provides information on the varieties and nature of Chinese painting colors, including mineral and plant pigments, gold and silver, the development of Chinese painting colors, the characteristics of Chinese ink, folk artisans= and early masters= use of colors, modern methods, etc. The translators= introduction is worth reading for its explanation of why there was so little use of color in Chinese painting.

Portrait / Figure Painting

Brinker, Helmut. Shussan Shaka-Darstellungen in der Malerei Ostasiens: Untersuchungen zu einem Bildthema der buddhistischen Figurenmalerei. NewYork: Peter Lang, 1983. Originally the authors thesis, the work is an illustrated study of the iconography, typology and historical development in depiction of the birth of Buddha in Chinese and Japanese painting.

Brinker, Helmut. AChan portraits in a landscape. Archives of Asian Art 27 (1973-74), p. 8-29. One of the earlier writings on Chinese portraiture.

Lawton, Thomas. Freer Gallery of Art Fiftieth Anniversary Exhibition. II. Chinese Figure Painting. Washington, DC: Smithsonian Institution, 1973. The work provides an excellent guide to some of the finest Chinese figure paintings in the Freer collection, with each object thoroughly described, researched and documented.

Seckel, Dietrich. Das Portr?t in Ostasien. Heidelberg: C. Winter, 1997-1999. This multi-volume work deals with portrait painting in Asia, including China.

Spiro, Audrey G. Contemplating the Ancients: Aesthetic and Social Issues in Early Chinese Portraiture. Berkeley: University of California Press, 1990. Based on her dissertation Early Chinese Portraiture: Character as Social Ideal, the work describes the portraiture on the 4th and 5th century tomb reliefs and expounds on the nature and meaning of them.

Stuart, Jan. ACalling back the ancestors shadow: Chinese ritual and commemorative portraits in the Arthur M. Sackler Gallery.@ Oriental Art, vol. 43, no. 3 (Autumn 1997), p. 8-17. Describes a recent acquisition of Chinese ancestor portraits, a rarely researched subject.

Vinograd, Richard. Boundaries of the Self: Chinese Portraits, 1600-1900. Cambridge, U. K.: Cambridge University Press, 1992. The work gives the definitions of two kinds of portraits: portrait as effigy and portrait as emblem, and describes the period of the 17th-19th centuries when there was a vast production of painted portraits in China, the majority of which were posthumous ancestor portraits. But there was also an explosion of informal portraits commissioned by or for living people. The book deals with this type.

General Works

Auboyer, Jeannine ... [et al.] Oriental Art: A Handbook of Styles and Forms. New York: Rizzoli, 1980.Translated from French, it provides basic information on styles, mythologies, religions, and cultures, covering South, Southeast and East Asia.

The British Museum Book of Chinese Art, edited by Jessica Rawson. London: British Museum Press, 1992. 395 p. Written on the occasion of the opening of Sir Joseph Hotung Gallery at the British Museum, the book consists of 6 chapters on jade and bronzes, calligraphy and painting, sculpture, decorative arts, ceramics and Aluxuries for trade.@ The appended chronologies, lists of archaeological and Buddhist sites, painters and glossaries are extremely useful. It not only complements the display in the gallery, but also outlines various aspects of Chinese art.

Cambridge Encyclopedia of China. Cambridge: Cambridge University Press, 1982. A good source for a quick reference on China in general. One can also find entries on Chinese art, architecture and archaeology.

Clunas, Craig. Art in China. (Oxford History of Art series). Oxford: Oxford University Press, 1997. 255 p. Reader in History of Art at the University of Sussex, the author gives a concise history of art in China, with explanations on, What is art in China?

Clunas, Craig. Superfluous Things: Material Culture and Social Status in Early Modern China. Cambridge: Polity Press, 1991.It discusses some of the ways of looking at things and connoisseurship in the late Ming dynasty (1368-1644) China, with broad themes, such as shaping of aesthetic values by social forces and expression of social distinctions Athrough things.@ It crosses the disciplinary boundaries of art and social history and looks at aspects of material culture and social context.

Clunas, Craig. Pictures and Visuality in Early Modern China (Picturing history series). London: Reaktion, 1997. The work focuses on the 17th century, a period of rapid economic development and cultural production, forming a consumer society. Pictures were a major source of consumable luxury at the time, Apictures@ not only in the form of Aart,@ but also in the form of wall decoration, in books and prints, on ceramics, lacquer, textiles and even on the dress of the prosperous.

Contemporary Chinese Aesthetics, edited Zhu Liyuan and Gene Blockner. New York: Peter Lang, 1995. 350 p. A collection of 21 essays by contemporary leading Chinese aestheticians of different generations representing different schools, a mixture of Chinese, Marxist and other European aesthetics. Among the essays are, ASpace-consciousness in Chinese art, Art appreciation as recreation, Ancient Chinese aesthetics, Modern Chinese aesthetics, art and image, and, The essence of art.

Dictionary of Art, editor Jane Turner. New York: Groves Dictionaries; London: Macmillan, 1996. 34 volumes, including index. (The online version website: http://www.groveart.com. ) The entry on China (from v. 6, p. 607 to v. 7, p. 162) consists of a lengthy introduction including geography, history, trade, religion and philosophy, followed by exhaustive studies of 10 major art forms (architecture, sculpture, calligraphy, painting, bronzes, ceramics, jade-carving, lacquer, gold and silver, furniture and textiles) and discussions of 26 minor arts, such as arms and armour, bamboo-, ivory-, wood-carving, cloisonne, jewellery, even theatre, and sections on popular art, the arts of different nationalities of China, art training, collections and museums. There are also several hundred separate entries on Chinese artists and a hundred or so entries on archaeological sites and cities. (Lack of illustrations and not too up-to-date bibliographies)

Eberhard, Wolfram. A Dictionary of Chinese Symbols: Hidden Symbols in Chinese Life and Thought. New York: Routledge & Kegan Paul, 1986. A translation from German, useful tool for identifying symbols in Chinese culture.

Gray, Basil. Studies in Chinese and Islamic art. London: The Pindar Press, 1985-1987. Vol. 1 deals with Chinese art, drawing examples from various collections in Great Britain covering Chinese painting, calligraphy, decorative arts, and
museums of China and Japan, and touching upon Korea.

Hansford, S. Howard. A Glossary of Chinese Art and Archaeology. 2nd rev. ed. London: The China Society, 1961. Still a useful tool for students and collectors to gain a quick understanding of Chinese terms in art and archaeology, though intended for readers with a certain knowledge of Chinese language. Architecture and calligraphy are not included.

Hutt, Julia. Understanding Far Eastern Art: A Complete Guide to the Arts of China, Japan and Korea: Ceramics, Sculpture, Painting, Prints, Lacquer, Textiles and Metalwork. Oxford: Phaidon, 1987. This work introduces the arts of China, Japan and Korea to the non-specialist, focusing on the main materials and techniques used, to help them understand the objects.

Jones, Lois Swan. Art Information and the Internet: How to Find It, How to Use It. Phoenix: Oryx Press, 1999. A good resource tool. (Read the review in Art documentation, v. 18, no. 1)

Lee, Sherman E. A History of Far Eastern Art. 5th ed. New York: Prentice Hall and Abrams, 1994. 576 p. The first edition was the result of lectures delivered by the author at the University of Washington. The 5th completely revised edition still has the original concept, that is, to deal with Acomparisons of various and diverse things with an eye for an educated audience that has not had the time nor the patience to deal with the highly specialized studies, providing broad overall analysis. Pt. I and IV deal with China. The author is considered the last Asian art generalist.

Lee, Sherman E. China, 5000 Years: Innovation and Transformation in the Arts of China, selected by Sherman Lee. New York: Guggenheim Museum, 1998. Catalog of an exhibition of 250 outstanding objects from 17 provinces in China, at Guggenheim New York and Bilbao, 1998. The Huntington Archive of Buddhist and Related Art, Ohio State University, has a website: http://kaladarshan.arts.ohio-state.edu/, with images of the objects and sections of the catalog.

Li, Tse-hou. The Path of Beauty: A Study of Chinese Aesthetics. Beijing: Morning Glory Pub., 1988. A translation of the 1983 Chinese edition, the work focuses on styles and motifs, characteristics of art in China and its interaction with Chinese culture and literature.

Medley, Margaret. A Handbook of Chinese Art for Collectors and Students. New York: Harper & Row, 1964.Basic terminology (about 500 entries) for Chinese art; good for a quick reference.

Munsterberg, Hugo. Dictionary of Chinese and Japanese Art. New York: Hacker, 1981.Another good tool for quick reference.

Munsterberg, Hugo. Symbolism in Ancient Chinese Art. New York: Hacker, 1986. Animal and other motifs, such as a dragon, tiger, bull, cicada, and celestial symbols, are discussed with examples from the art collections in the US, Canada and Great Britain.

Powers, Martin Joseph. Art and Political Expression in Early China. New Haven: Yale University Press, 1991. Using pictorial images from sepulchral monuments and tomb reliefs, the work uses a combination of historical and stylistic data to build a picture of the Han dynasty (221 B.C.-220A.D.) It is also listed in ASculpture.

Rawson, Jessica. Ancient China: Art and Archaeology. New York: Harper & Row, 1980. Divided into five chapters by period, the Neolithic, Shang, Western Zhou, Eastern Zhou and Han dynasties, the book is intended as a companion to the British Museum=s collection of early Chinese art and archaeological material, but serves as a general historical survey of Chinese art up till 220 A.D.

Rawson, Jessica. Chinese Ornament: The Lotus and the Dragon. New York: Holmes & Meier, 1984. An exhibition catalog, it focuses on two dominant motifs, lotus and dragon, tracing the history of animal and floral ornaments, their ubiquity in Chinese art, and their influences on other cultures.

Seymour, Nancy N. An Index-Dictionary of Chinese Artists, Collectors, and Connoisseurs. Metuchen: Scarecrow, 1988. It includes more than 5000 Chinese names and biographical information, with Chinese characters, an index of modified stroke count, a tool for converting the two romanization systems, and a selected bibliography. For a quick reference.

Shulman, Frank Joseph. Doctoral Dissertations on China and on Inner Asia, 1976-1990: An Annotated Bibliography of Studies in Western Languages. Westport, CT: Greenwood Press, 1998. Continuation of his Doctoral Dissertations on China, 1945-1970 and Doctoral Dissertations on China, 1971-1975, the new publication is a comprehensive, multidisciplinary annotated guide to 10,293 dissertations in the humanities, social sciences, education, theology, and other disciplines. Entries #333-534 deal with art and art history; #648-711 with Chinese influence on Asian art, and #712-751 deal with Chinese influence on Western art.

Sickman, Laurence and Alexander Soper. The Art and Architecture of China. Middlesex, England: Penguin Books, 1971. Still a good reference book, focussing on painting, sculpture and architecture.

South East Asia & China: Art, Interaction & Commerce (Colloquies on art & archaeology in Asia; no. 17), edited by Rosemary Scott & John Guy. London: Percival David Foundation of Chinese Art, 1995. Consists of 15 papers delivered at the 17th Percival David Foundation Colloquy, dealing with Chinese influences and interaction with South East Asia as reflected in art.

Style in the East Asian Tradition (Colloquies on art & archaeology in Asia ; no. 14), edited by Rosemary E. Scott and Graham Hutt. London: Percival David Foundation of Chinese Art, 1987. Consists of 12 papers delivered at the 14th Percival David Foundation Colloquy, in honor of William Watson, Professor of East Asian art at University of London, one of the early art historians. It includes a bibliography of William Watson=s works (p. 13-17).

Sullivan, Michael. The Arts of China. 3rd ed. Berkeley: University of California Press, 1984. Similar to the earlier editions of 1967 and 1973, it gives a historical survey of art in China beginning from the prehistoric era to the 20th century. The bibliographical references listed are of western languages before 1982.

Sullivan, Michael. The Meeting of Eastern and Western Art. Berkeley: University of California, 1989. Deals with Japan and China, the interaction of China and Europe and America and their mutual influences.

Sullivan, Michael. Studies in the Art of China and South-East Asia. London: The Pindar Press, 1991. Vol. 1 deals with Chinese art, with emphasis on pictorial art and some discussion on the influences of Western art and the Chinese response to it.

Tregear, Mary. Chinese Art. London: Thames and Hudson, 1980. A short survey of Chinese art with illustrations.

Vanderstappen, Harrie A. The T.L. Yuan Bibliography of Western Writings on
Chinese Art and Archaeology. London: Mansell, 1975. A reference book on Chinese art and archaeology, listing 2278 books and 8954 articles, covering materials published between 1920 and 1965, with index. Very useful for searching for earlier works.

Walravens, Hartmut. Bibliographien Zur Ostasiatischen Kunstgeschichte in Deutschland. Hamburg: Bell, 1983-1984. Contains bibliographical references written by German scholars Adolf Fischer, Freda Fischer, Karl With, Ludwig Bachhofer, Alfred Salmony, Otto Kümmel, with a list of reviews of the 1912 East Asian art exhibition in Berlin.

Watson, William. The Arts of China to AD 900. New Haven: Yale University Press, 1995. As the title indicates the book covers historic periods till the Tang dynasty (618-907). Subjects, such as pottery, bronzes, jade, lacquer, sculpture, Buddhist and secular, are discussed chronologically from the Neolithic age to the end of the Tang.

Werner, E.T.C. A Dictionary of Chinese Mythology. New York: Julian Press, 1969.Useful tool for finding myths and legends of China, with index and bibliography

Williams, C.A.S. Encyclopedia of Chinese Symbolism and Art Motives. New York: Julian Press, 1960. Still useful and easy to use with entries arranged in alphabetical order. At the end of each entry one can find bibliographical references.

Wu, Hung. Monumentality in Early Chinese Art and Architecture. Stanford: Stanford University Press, 1995. A broad-ranging investigation of the abstract concept of monumentality, spanning two thousand years of Chinese art history and a variety of media, the work provides a new type of history of early Chinese art and architecture, covering the rise and decline of ritual art, palaces and funerary monuments in the Qin and Han (221 B.C.- 220 A.D.) with stone as medium, also discussing the emergence of the individual artist in the post-Han period.

海外发行有关中国艺术史方面的权威期刊（Journals）

Archives of Asian art. ISSN 0066-6637. New York: Asia Society, v. 20 (1967)-, Continues: Archives of the Chinese Art Society of America (1945/46-1965). The most recent issue: v. 49 (1996). Vol. 50, no. 1 just out after 3-year delay.

Ars Orientalis. ISSN 0571-1371. Ann Arbor, Mich.: Dept. of the History of Art, University of Michigan, 1954-, Sponsored by the Freer Gallery of Art, Smithsonian Institution, the periodical is current but irregular.

Artibus Asiae. ISSN 0004-3648. Zurich: The Museum Rietberg in cooperation with the Arthur M. Sackler Gallery, Smithsonian Institution, 1925- , Irregular, but current.

Arts Asiatique. ISSN 0004-3958. Paris: Direction des Musees de France, 1954- , Annual, current

Arts of Asia. ISSN 0004-4083. Hong Kong: Arts of Asia Publications, 1971- , Bimonthly, current

Asianart.com at: http://www.asianart.com, An online journal for the study and exhibition of the arts of Asia. Links to associations, exhibitions, articles, galleries.

Asian Art & Culture. Washington, DC: Arthur M. Sackler Gallery, Smithsonian Institution; New York: Oxford University Press, 1994- , Continues: Asian Art (1987/88-1993). Since 1997 it has become a Amonographic series, published by University of Washington Press. So far two monographs have been published.

The Asian Art Newspaper. ISSN 1460-8537. London: The Asian Art Ltd., 1997- , Monthly (except July and August); published for collectors, dealers, museums and galleries, with reviews on exhibitions and books.

Asian Perspectives: The Journal of Archaeology for Asia and the Pacific. ISSN 0066-8435. Hawaii: University of Hawaii Press, 1957-, Semiannual, current

Bibliography of Asian Studies. ISSN 0067-7159. Ann Arbor, MI: Association for Asian Studies, 1970- , Current with delay

The Bulletin of the Oriental Ceramic Society of Hong Kong. Hong Kong: The OCS, 1975-, Irregular, current

Bulletin of the School of Oriental and African Studies, University of London. ISSN 0041-977X. London: The School, 1940- , Three times a year

China Archaeology and Art Digest. ISSN 1027-1503. Hong Kong: Art Text (HK), 1996- , A new quarterly journal, digest and index in English of all Chinese publications in the archaeological and art history fields, for scholars, collectors, museums and libraries. Very useful.

Monumenta Serica: Journal of Oriental Studies. ISSN 0254-9948. Peiping: Vetch, 1935-, Now published annually in Sankt Augustin, Germany by Monumenta Serica Institute, it covers all areas of Sinology, including art. Also has book reviews and notes.

Museum of East Asian Art Journal. Bath, England: The Museum, 1995-, Annual, current

Museum of Far Eastern Antiquities Bulletin. ISSN 0081-5691. Stockholm: The Museum, 1960-, Annual, current

National Palace Museum Bulletin. ISSN 0027-9846. Taipei, Taiwan: National Palace Museum, 1966-, Bimonthly, current. The Museum has a website: http://www.npm.gov.tw.

Newsletter, East Asian Art & Archaeology. ISSN 8755-4593. Ann Arbor, Mich.: East Asian Program, The University of Michigan, 1977- , Semiannual, current
Oriental Art. ISSN 0196-0008. London: Oriental Art Magazine, 1948- , Quarterly, current

Orientations. ISSN 0030-5448. Hong Kong: Pacific Communications, 1970- , Monthly, current

Revue Bibliographique de Sinologie = Review of bibliography in Sinology. ISSN 0080-2484. Paris: Editions de lEcole des hautes etudes en sciences sociales, 1957- , Annual, current, with one chapter dealing with art and archaeology, listing both monographs and journal articles in western and Asian languages.

Silk Road Art and Archaeology: Journal of the Institute of Silk Road Studies, Kamakura. ISSN 0917-1614. Kamakura-shi, Japan: The Institute, 1990- , Annual, current.

Transactions of the Oriental Ceramic Society. ISSN 0306-0926. London: The Society, 1923-, Begun with an unnumbered issue for 1921/22, it is published annually. Articles cover not only Chinese art and Chinese ceramics, but also other Asian art. The Society also has a newsletter, listing museum exhibitions, gallery and dealer shows, symposia, lecture series, courses and workshops, museum news and publications.

1. Cahill, James. Hills Beyond a River: Chinese Painting of the Yuan Dynasty, 1279-1368. New York and Tokyo: John Weatherhill, Inc., 1976. 中文翻译，高居翰，《隔江山色—元代绘画》，台北：石头出版社，1994。

2. Cahill, James. Parting at the Shore: Chinese Painting of the Early nad Middle Ming dynasty, 1368-1580. New York and Tokyo: John Weatherhill, Inc., 1978. 中文翻译，高居翰，《江岸送别—明代初期与中期绘画》，台北：石头出版社，1995。

3. Cahill, James. The Distant Mountains: Chinese Painting of the Late Ming Dynasty, 1570-1644. New York and Tokyo: John Weatherhill, Inc., 1982. 中文翻译，高居翰，《山外山—晚明绘画》，台北：石头出版社，1996。

4. Loehr, Max. The Great Painters of China. New York: Phaidon Press, 1980.

5. 石守谦等，《中国古代绘画名品》。台北：雄狮出版社，1986。