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List of Figures xi <p>Notes on Contributors xv</p> <p>Introduction 1<br /><i>Martin J. Powers and Katherine R. Tsiang</i></p> <p><b>Part I Production and Distribution 27</b></p> <p>1 Court Painting 29<br /><i>Patricia Ebrey</i></p> <p>2 The Culture of Art Collecting in Imperial China 47<br /><i>Scarlett Jang</i></p> <p>3 Art, Print, and Cultural Discourse in Early Modern China 73<br /><i>J. P. Park</i></p> <p>4 Art and Early Chinese Archaeological Materials 91<br /><i>Xiaoneng Yang</i></p> <p><b>Part II Representation and Reality 113</b></p> <p>5 Figure Painting: Fragments of the Precious Mirror 115<br /><i>Shane McCausland</i></p> <p>6 The Language of Portraiture in China 136<br /><i>Dora C. Y. Ching</i></p> <p>7 Visualizing the Divine in Medieval China 158<br /><i>Katherine R. Tsiang</i></p> <p>8 Landscape 177<br /><i>Peter C. Sturman</i></p> <p>9 Concepts of Architectural Space in Historical Chinese Thought 195<br /><i>Cary Y. Liu</i></p> <p>10 Time in Early Chinese Art 212<br /><i>Eugene Y. Wang</i></p> <p><b>Part III Theories and Terms 233</b></p> <p>11 The Art of “Ritual Artifacts” (Liqi): Discourse and Practice 235<br /><i>Wu Hung</i></p> <p>12 Classification, Canon, and Genre 254<br /><i>Richard Vinograd</i></p> <p>13 Conceptual and Qualitative Terms in Historical Perspective 277<br /><i>Ronald Egan</i></p> <p>14 Imitation and Originality, Theory and Practice 293<br /><i>Ginger Cheng-chi Hs¨u</i></p> <p>15 Calligraphy 312<br /><i>Qianshen Bai</i></p> <p>16 Emptiness-Substance: Xushi 329<br /><i>Jason C. Kuo</i></p> <p><b>Part IV Objects and Persons 349</b></p> <p>17 Artistic Status and Social Agency 351<br /><i>Martin J. Powers</i></p> <p>18 Ornament in China 371<br /><i>Jessica Rawson</i></p> <p>19 Folding Fans and Early Modern Mirrors 392<br /><i>Antonia Finnane</i></p> <p>20 Garden Art 410<br /><i>Xin Wu</i></p> <p>21 Commercial Advertising Art in 1840–1940s “China” 431<br /><i>Tani E. Barlow</i></p> <p><b>Part V Word and Image 455</b></p> <p>22 Words in Chinese Painting 457<br /><i>Alfreda Murck</i></p> <p>23 On the Origins of Literati Painting in the Song Dynasty 474<br />Jerome Silbergeld</p> <p>24 Poetry and Pictorial Expression in Chinese Painting 499<br /><i>Susan Bush</i></p> <p>25 Popular Literature and Visual Culture in Early Modern China 517<br /><i>Jianhua Chen</i></p> <p>Index 535</p>

<p><b>Martin J. Powers</b> is Sally Michelson Davidson Professor of Chinese Arts and Cultures at the University of Michigan, USA, and former director of the Center for Chinese Studies. His publications <i>Art and Political Expression in Early China</i> (1991) and <i>Pattern and Person: Ornament, Society, and Self in Classical China</i> (2006) have both received the Levenson Prize for the best books in pre-twentieth century Chinese Studies.<br /><br /><b>Katherine R. Tsiang</b> is Associate Director of the Center for the Art of East Asia in the Department of Art History, University of Chicago, USA, where she coordinates research materials and programs. Her research is concentrated in the fields of Chinese Buddhist art and Chinese medieval art and visual culture. Her work includes using new technology for digital imaging and reconstruction of Chinese Buddhist caves and she is curator and author of the catalog of the exhibition "Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan" (2010).</p>

<p><i>A Companion to Chinese Art</i> provides a contemporary survey of one of the world’s greatest and richest artistic traditions. Including over two dozen newly-commissioned essays, it examines this region’s art and theory in all of its multifaceted complexity—spanning the theories, genres, and media central to Chinese art throughout its history.<br /><br /> The volume offers a rich insight into China’s social and political institutions, religious practices, and intellectual traditions alongside Chinese art history, theory, and criticism. It brings together an international team of scholars from East and West, whose contributions range from an overview of premodern theory, to those exploring calligraphy, fine painting, sculpture, personal accessories, and more. In addition, the <i>Companion</i> reflects on social and cultural issues, such as the challenges of comparative history, the role of the artist in society, the contested role of gender in art production, different theories of nature that have evolved over time, and articulates the direction in which the field of Chinese art history is moving. In promoting a comparative understanding of China’s long record of cultural production, this volume provides students and scholars of both Asian and non-Asian art history with an exceptional guide to the history of art in China, from its earliest incarnations to the present day.</p>

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