Chinese art facts for kids

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Chinese art

Two flasks with dragons; 1403–1424; underglaze blue porcelain

Auspicious Cranes by Emperor Huizong depicting a scene on top of Kaifeng city gate, 16th January 1112.

Shang bronze vessel, 2nd millennium BC

a section of the Nine Dragons scroll, 1244 CE

Chinese art is all the amazing visual art that comes from China. It also includes art made by Chinese artists living outside China, especially if it uses Chinese culture, history, or traditions. Chinese art goes way back, starting around 10,000 BC with simple pottery and sculptures.

For a long time, Chinese art was grouped by the different ruling families, called dynasties. Most of these dynasties lasted for hundreds of years. You can see huge collections of Chinese art at the Palace Museum in Beijing and the National Palace Museum in Taipei.

Chinese art is special because it has a strong connection to its past. It didn't have big breaks like Western art did. Things like pottery, textiles, and carved lacquer are very important in Chinese art. Many of the best pieces were made in large workshops by artists whose names we don't know today.

These workshops often worked for the Emperor, creating beautiful items. These items were used by the royal family and also sent to other countries to show off China's wealth and power. However, there was also a different kind of art: ink wash painting. This was often done by scholar-officials and court painters. They focused on landscapes, flowers, and birds, showing their own feelings and observations. In recent years, Chinese artists have also become very successful in the world of contemporary art.

A Journey Through Chinese Art History
Chinese Painting Styles
Sculpture: From Bronzes to Buddhas
Ceramics: The Art of Pottery
Decorative Arts: Beauty in Everyday Objects
Architecture: Building with Tradition
Chinoiserie: European Take on Chinese Style
Modern Chinese Art: New Beginnings
The Art Market: A Growing Global Presence
Where to See Chinese Art
See also

A Journey Through Chinese Art History

Ancient Pottery: Neolithic Times

Early Chinese art can be found in the Yangshao culture, which existed around 6,000 BC. Archeologists have found that the Yangshao people made pottery. Their first decorations were simple fish and human faces. Later, they created cool, balanced geometric designs, some of which were painted.

The Yangshao culture is famous for its painted pottery. They didn't use pottery wheels like later cultures did. It's interesting to know that children were sometimes buried in these painted pottery jars.

A red pot with two "ears"; by Peiligang culture; 6000–5200 BC; ceramic; Shanghai Museum
Dotted pottery pot, semi-mountain type; by Yangshao culture from China; 2700–2300 BCE; Gansu Provincial Museum (Lanzhou)
Jar; 2650–2350 BC; earthenware with painted decoration; height: 34 cm; Metropolitan Museum of Art (New York City)
Pot with geometric lattice pattern; by Majiayao culture; 2600–2300 BC; painted potter; Shanghai Museum

Jade Art: A Special Stone

The Liangzhu culture was the last group to use jade during the New Stone Age in the Yangtze River Delta. This culture lasted for about 1,300 years. Their jade pieces are known for being very detailed and large. They made ritual objects like Cong cylinders and Bi discs. They also created pendants and decorations shaped like birds, turtles, and fish. Liangzhu jade often looks white and milky, like bone, because of the type of stone it came from and how it was buried.

Jade humanoid, Hongshan culture (4700–2900 BCE).

Shang dynasty (1600–1045 BCE) jade human figure

Cong, 3rd millenium BCE
Two-dragon ring, early Shang dynasty (2nd millennium BCE)
Jade dragon, Western Zhou
Rusted Zhou-era Jian with a jade hilt, c.9th century BCE
Chain of 16 carved jade pieces locked onto each other; 8th century BCE, Chu State.

Bronze Casting: Powerful and Detailed

The Bronze Age in China began with the Xia dynasty. During this time, people made useful objects from bronze. Later, in the Shang dynasty, artists created more detailed bronze items, including many for religious ceremonies. Shang bronzesmiths were famous for their clear and precise work. They often made ritual vessels, weapons, and parts for chariots.

These bronze vessels were used to hold food and drinks for sacred ceremonies. Some, like the ku and jue, were very elegant. The most impressive pieces were the ding, which looked very strong and powerful.

Shang bronzes were usually decorated everywhere, often with designs of real and imaginary animals. A common design was the taotie. This showed a mythical creature's face, flattened out to create a balanced design. The meaning of taotie is not fully clear, but old stories say it might have been a greedy monster.

Over time, bronze objects changed. In the Zhou dynasty, they became more practical and less religious. By the Warring States period, people enjoyed them just for their beauty. Some were decorated with scenes of banquets or hunts. Others had abstract patterns made with gold, silver, or precious stones.

Bronze items were also important in the Han dynasty, especially for burials. Many bronze vessels found in tombs show the beauty of Han art. These vessels, like the Ding, Hu, and Xun, were used to connect with the spirits of ancestors. Besides vessels, tombs also contained bronze weapons, daily items, and musical instruments. Owning a full set of Bianzhong bells showed a person's high status, as only rich and royal families had them. These bells were also used to communicate with gods.

People started to appreciate Shang bronzes as art during the Song dynasty. They loved their shapes, designs, and the beautiful colors (like green, blue-green, and reddish) that formed on the bronze over time from being buried.

Longshan goblet; circa 2500–2000 BC; Excavated at Jiaoxian in Shandong, 1975)
Sanxingdui bronze head, 2nd millennium BCE
Sacred bronze tree, Sanxingdui
Altar set; late 11th century BC; bronze; overall (table): height: 18.1 cm (7¹⁄₈ in.), width: 46.4 cm (18¹⁄₄ in.), depth: 89.9 cm (35³⁄₈ in.); Metropolitan Museum of Art (New York City, U.S.)
Square Lei, Shang Dynasty, 2nd millenium BCE
Square zun with four sheep-head ornaments, Shang Dynasty
Houmuwu ding, the largest ancient bronze ever found; 1300–1046 BCE; National Museum of China.
Ding with Taotie engravings from the late Shang, 2nd millennium BCE
Da He ding (大禾方鼎; Dà Hé fāngdǐng); Shang dynasty; Hunan Museum. This ritual bronze is one of the very rare vessels that is decorated with human faces
Ritual wine server (guang); 1100 BC; Indianapolis Museum of Art.
Taibao Ding from the Western Zhou, unearthed in Shandong; c. 10th century BCE
The Da Yu ding; 1054 BC (Western Zhou); height: 101.9 cm (40.1 in), width: 77.8 cm (30.6 in); discovered in 1849, Mei County, Shaanxi.
Da Ke ding; Western Zhou dynasty; height: 93.1 cm (36.7 in), width: 75.6 cm (29.8 in) (bore) & 74.9 cm (29.5 in) (inside diameter); discovered in 1890, at Famen Town (Fufeng County, Shaanxi); Shanghai Museum
Bell (lai zhong); 800–700 BC (Western Zhou dynasty); 70.3 × 37 × 26.6 cm (27⁵⁄₈ × 14⁹⁄₁₆ × 10⁷⁄₁₆ in.); from Meixian, Shaanxi); Cleveland Museum of Art. In ancient China music and ritual had political significance and were linked inseparably to the power of states
A bronze stand for ceremonial vessels; excavated from the tomb of the son of King Zhuang of Chu (r. 613–591 BCE)
Shi zun; 1600–1046 BC; height: 40 cm (16 in); discovered at Chuanxingshan (Xiangtan County, Hunan); Hunan Museum

Zhou Dynasty Art (Around 1046 – 256 BCE)

During the Zhou period, artists started making sculptures of human figures. Some of the earliest examples include wooden figures from Shaanxi and statuettes of bronze musicians. One very old sculpture is the Taerpo horserider, a terracotta figure of a cavalryman from a tomb. This shows that people were riding horses in battle back then.

Spring and Autumn Period ox-shaped vessel, 6th century BCE
Silk painting depicting a man riding a dragon, 4th century BCE
Western Zhou, 11-9th century BCE
Gold sword hilt, Eastern Zhou
Silver belt buckle with inlaid gold and jade, Warring States, c. 4th century BCE
Bronze dui vessel with inlaid geometric cloud pattern, Eastern Zhou

Art from the Chu State

The state of Chu, located in the Yangtze River valley, was a rich source of early Chinese art. When archaeologists dug up Chu tombs, they found painted wooden sculptures, jade disks, glass beads, musical instruments, and many kinds of lacquerware. Many of these lacquer objects were beautifully painted, often red on black or black on red. Some of the oldest paintings on silk were found in Changsha, Hunan province.

Lacquer dou-vessel from the Tomb of Marquis Yi of Zeng c. 433 BCE

Chu wares were elegant and sophisticated, they directly influenced later Han-era wares.
Heart-shaped lacquer box with phoenix pattern.
Painted lacquer box in the shape of 2 rear-to-rear pigs.
The Fenghuang was a popular motif in Chu art, whereas the dragon was more popular in the other states to its north.
Lacquer dou with phoenix base.
Lacquered yuren (羽人) figure on a toad stand
Small lacquered screen, Chu state, 5th century BCE
A lacquerware makeup case from the Jingmen Tomb
Close-up of the previous ware with intricate details of pre-imperial Hanfu

Early Imperial China (221 BCE – 220 CE)

Qin Dynasty Art: The Terracotta Army

The Terracotta Army is an amazing collection of more than 7,000 life-sized clay figures of warriors and horses. They were buried with the first Emperor of China, Qin Shi Huang, around 210 BC. These figures were meant to protect him in the afterlife.

When they were first found, the figures were painted with bright colors. But when they touched the air, the colors faded. Now, they look like their natural clay color. The figures show different poses, like standing soldiers and kneeling archers. Each head looks unique, with different faces, expressions, and hairstyles. This incredible realism shows how advanced art was during the Qin dynasty.

A musical instrument called the Qin zither was also developed during this time. In China, the beauty of a musical instrument was always as important as how it sounded. The Qin zither has seven strings and is often seen as a symbol of peace and harmony.

Han Dynasty Art: Jade, Bronze, and Landscapes

Western Han miniature pottery infantry and cavalry from Yangjiawan. After the Qin period, funeral figurines were much smaller, on average 60 centimeters (24 in) in height. Similar armies were found in Han Yang Ling, the tomb complex of Emperor Jing of Han (r. 157 – 141 BCE) and his wife Empress Wang Zhi (d. 126 BCE), with over 40,000 miniature pottery figures.

The Han dynasty was famous for its jade burial suits. One of the earliest landscape pictures in Chinese art comes from a Han dynasty tomb. It shows a scene with roads and garden walls that make it look like you are looking down from a hill. This was made by pressing stamps onto soft clay. However, the oldest known landscape painting in the traditional sense is by Zhan Ziqian from the Sui dynasty (581–618).

Besides jade, bronze was also a favorite material for artists because it was strong. Bronze mirrors were made in large numbers during the Han dynasty. Almost every Han tomb found has a mirror inside. The shiny side was usually made of bronze, copper, tin, and lead. In China, mirrors were seen as a way to reflect reality and remember past events. The non-shiny side of Han bronze mirrors often had detailed decorations and stories.

Glazed pottery dog, with collar patterned onto the surface; Eastern Han, 1st century CE.
Han dynasty lacquerwares were famed for their intricate and elegant designs.
Set of lacquered wine cups, with a typical pre-imperial design.
Cooler and ladle, Mawangdui
sericulture and silk embroidery reached a new high in the prosperous years of the Han
Abstract yet intricate patterns were found on coffins of lady Xin Zhui (217 BC–168 BC)
Delicate motifs relating to the afterlife are depicted around the meandering clouds on this inner coffin.
Banqueting figurines from Mawangdui, 2nd century BCE
Musicians playing guzheng and sheng, 2nd century BCE
Silk funerary banner, 2nd century BCE
Translucent silk was reserved for the highest of nobility as it was very difficult to produce.
Painted pottery pot with dragon and phoenix relief, as well as taotie designs for the lug handles.
Flying dragon from the Liu Fa tomb, Western Han
These figures represent guardian spirits of certain hours of the day- the left figure represents the first hour (midnight).
Han couple banquet together, from Luoyang c. 220 CE
A female servant and a male advisor in Han shenyi, terracotta figurines from Western Han.
Bronze statuette of a qilin, 1st century AD
Jade drinking vessel from Nannie, 1st century BCE
Western Han tomb fresco depicting the philosopher Confucius; 202 BCE – 9 CE; from Dongping County, Shandong
Two gentlemen engrossed in conversation while two others look on, a painting on a ceramic tile from a tomb near Luoyang, Henan, dated to the Eastern Han dynasty (25–220 AD)
pictorial brick depicting a courtyard, 2nd century BCE
Seals such as this one symbolised the authority of the kings and emperors of the Han.
A section of an Eastern Han (25–220 AD) fresco of 9 chariots, 50 horses, and over 70 men, from a tomb in Luoyang, China
Flying Horse of Gansu.
Mural of the Dahuting Tomb (打虎亭漢墓; Dáhǔtíng hàn mù) of the late Eastern Han, located in Zhengzhou
Miniature model of a residential block. Recovered from a burial site.
A vast number of miniature models allows us an insight into the architectural styles of the day.
A golden belt buckle with dragon motif, Western Han
Mural of the Dahuting Tomb (打虎亭漢墓; Dáhǔtíng hàn mù) of the late Eastern Han, located in Zhengzhou, Henan
An Eastern Han ceramic figurine of a seated woman with a bronze mirror, unearthed from a tomb of Songjialin, Pi County, Sichuan
Heaves of silk with all sorts of intricate designs were found at Mawangdui.

Mural depicting a banquet at Dahuting

First Monumental Stone Sculptures

While small clay figures were common, large stone statues were rare in China before the Mausoleum of Huo Qubing (140–117 BCE). Huo Qubing was a general who fought against the Xiongnu. The most famous statue at his tomb is a horse trampling a Xiongnu warrior.

The monumental stone sculpture of a horse trampling a Xiongnu warrior (with detail of the warrior's head) at Huo Qubing's Mausoleum, 117 BCE

Huo Qubing's Mausoleum has 15 other stone sculptures. These statues often kept the natural shape of the stone, with details carved in high-relief. After these early attempts, large stone statues became more common from the late Western Han to the Eastern Han periods. Monumental stone statues became a major art form from the 4th to 6th centuries CE, especially with the rise of large Buddhist sculptures in China.

Crouching tiger, Huo Qubing Mausoleum
Horse Ready to Leap, Huo Qubing Mausoleum
Crouching boar. Huo Qubing Mausoleum

Art During a Divided China (220–581 CE)

Admonitions Scroll by Gu Kaizhi (348-405), heavily damaged after it was looted during the Second Opium War

The Influence of Buddhism on Art

Buddhism arrived in China around the 1st century CE. From then until the 8th century, it greatly influenced Chinese art, especially statues. China quickly added its own unique style to Buddhist art.

In the 5th and 6th centuries, the Northern dynasties developed a more symbolic and abstract style for Buddhist art. Their statues looked serious and grand. Over time, artists wanted to make Buddhist art more realistic. This led to the very lifelike style of Tang Buddhist art.

Dunhuang mural, mid 6th century
Buddhist cave art, a dancer spins while the orchestra plays.
Vairocana, Longmen Grottoes, 500-900AD
Reclining Buddha, High Tang period

Calligraphy: The Art of Writing

In ancient China, painting and calligraphy (beautiful writing) were the most respected arts. They were mostly done by wealthy people and government officials who had time to practice. Calligraphy was even thought to be the highest form of painting.

Artists used a brush made of animal hair and black ink from pine soot. They wrote and painted on silk, but after paper was invented in the 1st century, paper became more common. Famous calligraphers' original writings were highly valued. They were often put on scrolls and hung on walls, just like paintings.

Wang Xizhi was a very famous Chinese calligrapher from the 4th century AD. His most well-known work is the Lanting Xu, a preface to a poetry collection. It's considered a masterpiece of the "Running Style" of calligraphy.

Wei Shuo was another important calligrapher who set rules for the "regular script" style. Her famous works include Famous Concubine Inscription.

Painting: Capturing Life and Nature

Mural paintings of court life in Xu Xianxiu's Tomb, Northern Qi dynasty, 571 AD, located in Taiyuan, Shanxi province

Gu Kaizhi was a celebrated painter from ancient China. He wrote three books about painting ideas. He believed that in figure paintings, the clothes and looks weren't as important as the eyes, which showed the spirit.

Three of Gu's paintings still exist today: Admonitions of the Instructress to the Court Ladies, Nymph of the Luo River, and Wise and Benevolent Women.

Other paintings from the Jin dynasty have been found in tombs. These include Seven Sages of the Bamboo Grove, painted on a brick wall. Each figure is labeled and shown doing things like drinking or playing music. Other tomb paintings show daily life, such as men plowing fields with oxen.

Funerary panels, from the tomb of Sima Jinlong, 484 CE
A scene of two horseback riders from a wall painting in the tomb of Lou Rui at Taiyuan, Shanxi, Northern Qi dynasty (550–577)
Lotus-patterned vase from Northern Qi, 6th century CE
Lion-shaped candle holder from Western Jin c. 4th century CE
Northern Wei murals and painted figurines from the Yungang Grottoes, dated 5th to 6th centuries.

The Sui and Tang Dynasties (581–960 CE)

Buddhist Art and Architecture

After the Sui dynasty, Buddhist sculptures in the Tang period became very lifelike. Because the Tang dynasty was open to foreign trade and ideas through the Silk Road, Tang Buddhist sculptures took on a classical look, inspired by art from Central Asia.

However, towards the end of the Tang dynasty, foreign influences were seen negatively. In 845, Emperor Wuzong banned all "foreign" religions, including Buddhism, to support local Taoism. He took away Buddhist property and forced the religion to go underground. This affected how Buddhist art developed in China.

Glazed or painted clay figures from Tang dynasty tombs are very famous and can be seen in museums worldwide. Most wooden Tang sculptures haven't survived, but you can still see examples of the Tang international style in Nara, Japan. Stone sculptures have lasted much longer. Some of the best examples are at Longmen, Yungang, and Bingling Temple.

One of the most famous Buddhist Chinese pagodas is the Giant Wild Goose Pagoda, built in 652 AD.

Tang dynasty painting from Dunhuang.
Fresco from Dunhuang depicting typical Tang architecture
Painting of Varjapani
A Chinese Tang dynasty tri-color glazed porcelain horse (c. 700 AD), using yellow, green and white colors.
Central Asian influence can be seen in the shape of this cup.

Views of Xiaoxiang by Dong Yuan(932-962). Dong is considered as one of the originators of landscape painting styles; the scales of such paintings were often huge, with minuscule yet intricate pastoralist subjects showing the relative enormity of the landscape. Zoom into the left to see a group of men engaging in seine-haul fishing.

Tang Dynasty Painting: Landscapes and Court Life

Painting by Dong Yuan (c. 934 – 962).

Starting in the Tang dynasty (618–907), the main subject of painting became landscapes, known as shanshui (mountain water) painting. These landscapes were usually simple and used only one color of ink. The goal was not to show nature exactly as it looked, but to capture a feeling or mood, and to show the "rhythm" of nature.

Traditional painting used the same tools as calligraphy: a brush dipped in black or colored ink. Oils were not used. Paper and silk were the most popular materials. Finished paintings were mounted on scrolls that could be hung or rolled up. Paintings were also made in albums, on walls, on lacquerware, and other surfaces.

Dong Yuan was an active painter in the Southern Tang Kingdom. He was known for both people and landscape paintings. His elegant style became the standard for Chinese brush painting for the next 900 years. Like many Chinese artists, he was also a government official. He learned from existing styles but added new techniques, like more complex perspective and using small dots and lines to create vivid effects.

Zhan Ziqian was a painter during the Sui dynasty. His only existing painting is Strolling About In Spring, which shows mountains in perspective. Since pure landscape paintings were rare in Europe until the 17th century, Strolling About In Spring might be the world's first landscape painting.

Zhou Fang (c.730-800) is renowned for his paintings of contemporary court ladies, whose opulent figures reflected the beauty standards of the day.

A Man Herding Horses, by Han Gan (706–783 AD), Tang dynasty original.

Full scroll of The Night Revels of Han Xizai, first painted in the 10th century in Southern Tang, later reproduced in 12th-century

The Song and Yuan Dynasties (960–1368 CE)

A wooden Bodhisattva from the Song dynasty (960–1279 AD)

The Sakyamuni Buddha, by Zhang Shengwen, 1173–1176 AD, Song dynasty period.

Song Dynasty Painting: Subtle Landscapes and Daily Life

During the Song dynasty (960–1279), landscapes became more subtle. Artists showed huge distances by using blurred outlines and mountains disappearing into mist. They focused on the spiritual side of painting and how the artist could show the harmony between humans and nature, based on Taoist and Buddhist ideas.

Liang Kai was a Chinese painter from the 13th century (Song dynasty) who helped create the Zen school of Chinese art. Wen Tong (11th century) was famous for his ink paintings of bamboo. He could even hold two brushes at once to paint different bamboos! He knew bamboo so well that he didn't need to see it while he painted.

Zhang Zeduan is famous for his long horizontal painting, Along the River During the Qingming Festival. It shows a busy city and landscape scene and is one of China's most famous paintings. Many copies have been made throughout history. Another famous painting is The Night Revels of Han Xizai, which shows wealthy people being entertained by musicians and dancers.

Various scenes from Along the River During the Qingming Festival

Ma Yuan's Snowscape

Buddhist Temple in the Mountains, 11th century, ink on silk, Nelson-Atkins Museum of Art, Kansas City (Missouri).
Seated Bodhisattva Avalokitesvara (Guanyin), wood and pigment, 11th century, Chinese Northern Song dynasty, St. Louis Art Museum
Almanac of birds and beasts, typical example of the Gongbi styles popular during the Song
Three Friends of Winter depicting plum, pine and bamboo, still used for decoration during new year's by countries in the sinosphere
Traveling on the River in Snow. Extremely intricate details give historians insight into medieval Chinese shipbuilding.
Emperor Huizong of Song was a prolific painter
Li Anzhong's Bird on a Branch; it has a circular shape because this was initially painted for a circular fan.
Loquats and a Mountain Bird, Southern Song (1127–1279); small album leaf paintings like this were popular amongst gentry and scholar-officials.
Auspicious Cranes, by Emperor Huizong depicting a scene on top of Kaifeng city gate on 16th January 1112.
The Spring Tide Brings Rain by Li Di
Circular-fan painting by Ma Lin
Shrike on a tree in winter; 1187 AD.
Wintry Sparrows by Cui Bai
Travelers among Mountains and Streams (谿山行旅), Fan Kuan((c. 960 – 1032)
"One Hundred Children Playing in the Spring" by Su Hanchen((1094–1172))
The Knickknack Peddler by Su Hanchen; depictions of common life became a popular motif during the prosperous years of the Song Dynasty

Qian Xuan's Eight Flowers, 13th century.

Nine Dragons (painting) by Chen Rong (c.1200-1266)

A Northern Song dynasty imperial procession giving tribute to the Lord of Heaven, depicting armed honor guards and officials, dated 1053–1065

Yuan Dynasty Painting: Retreat to Nature

A painting depicting Emperor Taizu of Song playing cuju (i.e. Chinese football) with his prime minister Zhao Pu (趙普) and other ministers, by the Yuan dynasty artist Qian Xuan (1235–1305)

When the Song dynasty ended in 1279 and the Mongols took over, many artists left city life. They went back to nature, painting landscapes and bringing back the "blue and green" style from the Tang era.

Wang Meng was one such painter, known for his Forest Grotto. Zhao Mengfu was a scholar, painter, and calligrapher during the Yuan dynasty. He chose an older, simpler style over the fancy brushwork of his time. This change is thought to have started a new era in Chinese landscape painting. Qian Xuan (1235–1305) had served the Song court and refused to work for the Mongols. He turned to painting, bringing back a more Tang dynasty style.

The later Yuan dynasty is known for the "Four Great Masters." Huang Gongwang (1269–1354) created calm and simple landscapes that were admired by artists for centuries. Another important painter was Ni Zan (1301–1374). He often painted with a strong foreground and background, leaving the middle empty. This style was often copied by later Ming and Qing dynasty painters.

Chinese Porcelain: Fine Ceramics

Chinese porcelain is made from a special clay called kaolin and a rock called petuntse. This mixture makes the pottery very hard and smooth. "China" has become a word for high-quality porcelain. Most fine Chinese pottery comes from the city of Jingdezhen in Jiangxi province. Jingdezhen porcelain has been a center for porcelain making in China since at least the Yuan dynasty.

Late Imperial China (1368–1911 CE)

Ming Dynasty Painting: Bright Colors and New Ideas

Under the Ming dynasty, Chinese culture flourished. Narrative paintings, which told stories with many colors and busy scenes, were very popular.

Wen Zhengming (1470–1559) developed the style of the Wu school in Suzhou. This style was very important in Chinese painting during the 16th century.

European culture started to influence Chinese art during this time. A Jesuit priest named Matteo Ricci brought Western artworks to China. These showed new ways of using perspective and shading.

Bian Jingzhao's intricate Gongbi took after the styles of Song, whilst incorporating other artistic styles
Three Friends and a Hundred Birds, zoom in to see the details.
Ming Empress phoenix crown, decorated with Tian-tsui.
Tang Yin's A Fisher in Autumn
Peach Festival of the Queen Mother of the West, early 17th century, Ming dynasty.
Bian Jingzhao's Snow Plum and Twin Cranes incorporating the Gonbi style, 15th century.
Empperor Shenzong and Empress Xiaoduan.jpg

Emperor Shenzong and Empress Xiaoduan
Bird Peddler, 16th century. The prosperity of the Ming-era inspired a renaissance in art depicting common life.
Water and Land Ritual painting of Canshen and the Five Demons of Pestilence, Baoning Temple, Ming dynasty
Magnolia and Erect Rock (玉堂柱石圖)
Ming portraiture also took after Song styles, however it shed its adherence to plainness and austerity.
Detail of The Emperor's Approach showing the Wanli Emperor's royal carriage being pulled by elephants and escorted by cavalry (full panoramic painting here)

Early Qing Dynasty Painting: Tradition and Innovation

Early Qing dynasty painting had two main styles: the Orthodox school and the Individualist painters. Both followed the ideas of Dong Qichang, but in different ways.

The "Four Wangs" (like Wang Jian and Wang Shimin) were famous in the Orthodox school. They tried to recreate old styles, focusing on the brushwork and calligraphy of ancient masters. The younger Wang Yuanqi (1642–1715) often wrote notes on his paintings explaining how they related to older works.

The Individualist painters included Bada Shanren (1626–1705) and Shitao (1641–1707). They wanted to go beyond tradition and create their own unique styles. In this way, they were actually following Dong Qichang's ideas more closely than the official Orthodox school.

Artists who weren't scholars or aristocrats also became famous. Some created paintings to sell, like Ma Quan (late 17th–18th century), who painted common flowers, birds, and insects. These artists were still skilled in art. Ma Quan, for example, based her brushwork on Song dynasty examples. The "boneless technique" (Chinese: 沒骨畫), which used colors without outlines, was continued by painters like Yun Shouping (1633–1690).

As color printing improved, art instruction books were published. The Jieziyuan Huazhuan (Manual of the Mustard Seed Garden), first published in 1679, has been a textbook for artists ever since.

The Yongzheng Emperor Enjoying Himself During the 8th Lunar Month, by anonymous court artists, 1723–1735 AD, Palace Museum, Beijing, showing the use of linear perspective.
Album Leaf, Yun Bing, 17th century, Metropolitan Museum of Art, New York, showing the "boneless" technique.
Chinese painting from 1664 by Qing dynasty painter Kun Can

Late Qing Dynasty Art: New Forms and Schools

Nianhua were colored woodblock prints used for decoration during the Chinese New Year. In the 19th century, they also became a way to share news.

The Shanghai School was a very important Chinese art movement during the late Qing dynasty and 20th century. Artists from this school helped traditional Chinese art reach new heights. The Shanghai School challenged old art traditions but still respected ancient masters. Its members were educated scholars who questioned the purpose of art as society changed rapidly. Their works were very creative and often included subtle social messages. Famous artists from this school include Ren Xiong, Ren Bonian, and Wu Changshuo.

Chinese Painting Styles

Part of Eight Views of Xiaoxiang, an imaginary tour through Xiao-xiang by Li Shi (李氏); 12th-century; scroll, ink on paper; 30 × 400 cm; Tokyo National Museum

Traditional Chinese painting, like Chinese calligraphy, uses a brush dipped in black or colored ink. Oils are not used. The most popular materials are paper and silk. Finished paintings can be mounted on scrolls, like hanging scrolls or handscrolls. Paintings can also be done on album pages, walls, lacquerware, folding screens, and other surfaces.

The two main techniques in Chinese painting are:

Gong-bi (工筆), meaning "meticulous." This style uses very detailed brushstrokes and precise outlines. It often has many colors and usually shows people or tells stories. Artists working for the royal court or in workshops often used this style. Bird-and-flower paintings were often done in Gong-bi.
Ink and wash painting (水墨), also called "literati painting." This was one of the "four arts" of the Chinese scholar-official class. In theory, gentlemen practiced this art. This style is also called "xie yi" (寫意) or freehand style.

From the Han to Tang dynasties, artists mainly painted human figures. We know about early Chinese figure painting from burial sites, where paintings were kept on silk banners, lacquer objects, and tomb walls. Many early tomb paintings were meant to protect the dead or help their souls reach paradise. Others showed the teachings of the philosopher Confucius or scenes of daily life. Most Chinese portraits showed a formal, full-length view from the front. They were used by families to honor their ancestors.

Many art experts believe landscape painting is the highest form of Chinese painting. The period from the Five Dynasties to the Northern Song (907–1127) is called the "Great age of Chinese landscape." In the north, artists like Jing Hao and Fan Kuan painted tall mountains using strong black lines and ink washes to show rough rocks. In the south, Dong Yuan and Juran painted the rolling hills and rivers of their homeland in peaceful scenes with softer brushwork. These two styles became the classic forms of Chinese landscape painting.

Early Autumn; by Qian Xuan; 13th century; ink and colors on paper scroll; 26.7 × 120.7 cm; Detroit Institute of Arts. The decaying lotus leaves and dragonflies hovering over stagnant water are probably a veiled criticism of Mongol rule
Lohan manifesting himself as an eleven-headed Guanyin; circa 1178; ink and color on silk; 111.5 × 53.1 cm; Museum of Fine Arts, Boston
Parrot and insect among pear blossoms; by Huang Jucai; second half of the 13th century; ink and colour on silk; 27.6 × 27.6 cm; Museum of Fine Arts (Boston)
Wang Xizhi watching geese; by Qian Xuan; 1235 – before 1307; handscroll (ink, color and gold on paper); Metropolitan Museum of Art (New York City)
The eight hosts of Deva, Naga and Yakshi; 1454; hanging scroll, ink and color on silk; dimensions of the painting: 140.2 × 78.8 cm; Cleveland Museum of Art
Portrait of Zhu Youjiao; after 1620; painting; National Palace Museum, Taipei
Landscape, part of an album of eight leaves; by Lu Han; 1699; ink and color on paper; image: 30.5 × 22.9 cm; Metropolitan Museum of Art
Another landscape, part of the same album of eight leaves; by Lu Han; 1699; ink and color on paper; image: 30.5 × 22.9 cm; Metropolitan Museum of Art
Landscape; by Dong Yuan; turn of the 18/19th century; handscroll, ink on silk; 39.1 × 717.6 cm; Metropolitan Museum of Art
Portrait; early 20th century (?); album of twenty leaves, ink and color on silk; 28.3 × 22.2 cm; Metropolitan Museum of Art
Chinese Painting – Traveling on the Road.
Northern Song dynasty-Finches and bamboo
Strolling About in Spring, by Zhan Ziqian, artist of the Sui dynasty (581–618).
Court Ladies of the Former Shu by Tang Yin
Tang Yin – The Gathering at the Orchid Pavilion
Tang Yin – A beauty – Rhode Island School of Design Museum
Tang Yin – Making the Bride's Gown – Walters
Brooklyn Museum – The Chinese Buddhist Pilgrim Xuanzang
China, Qing dynasty – Portrait of Buddhist Monks of Obaku Sect – Cleveland Museum of Art

Sculpture: From Bronzes to Buddhas

Chinese ritual bronzes from the Shang and Western Zhou dynasties (starting around 1500 BC) have greatly influenced Chinese art. These bronzes have complex patterns and animal decorations, but they usually don't show human figures. This is different from the huge human figures recently found at Sanxingdui.

The amazing Terracotta Army was made for the tomb of Qin Shi Huang, the first emperor of a united China (221 to 210 BC). It was a grand version of the figures that had been placed in tombs for a long time. These figures were meant to let the dead enjoy the same lifestyle in the afterlife as they did when alive, replacing earlier human sacrifices. Smaller figures made of pottery or wood were placed in tombs for many centuries after, reaching their best quality in the Tang dynasty tomb figures.

Traditional Chinese religions usually don't use statues of gods. So, most large religious sculptures in China are Buddhist. They date from the 4th to the 14th century and were first influenced by Greco-Buddhist art that came through the Silk Road. Buddhism also led to large portrait sculptures. Imperial tombs have impressive paths lined with real and mythical animals, similar in scale to those in Egypt. Smaller versions decorate temples and palaces. Small Buddhist figures and groups were made with great skill from various materials, as were detailed decorations on objects, especially in metalwork and jade. Sculptors were seen as craftspeople, and very few of their names are known.

Ritual tripod cauldron (ding); circa 13th century BC; bronze: height with handles: 25.4 cm; Metropolitan Museum of Art (New York City)
Wine vase (zun); 13th century BCE; bronze inlaid with black pigment; height: 40 cm; Metropolitan Museum of Art
One of the warriors of the Terracotta Army, a famous collection of terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China
Changxin Palace lamp; circa 172 BCE; bronze and gold; height: 48 cm; Hebei Provincial Museum (China); excavated from the tomb of Dou Wan
The Flying Horse of Gansu; circa 300; bronze; height: 34.5 cm, length: 45 cm; width: 13.1 cm; Gansu Provincial Museum, Lanzhou
Votive stele with Buddha Shakyamuni; dated 542 (Eastern Wei dynasty); limestone; Museum Rietberg (Zürich, Switzerland)
Sculpture probably of Amitābha; early 7th century; hollow dry lacquer with traces of gilt and polychrome pigment and gilding; height: 96.5 cm, width: 68.6 cm, depth: 57.1 cm; Metropolitan Museum of Art
The Leshan Giant Buddha, a 71 m tall stone statue, built between 713 and 803, Tang dynasty
Statue of a monk; 8th century; limestone with pigment; limestone with pigment; height (including the stone dowel): 175.3 cm; Metropolitan Museum of Art
Statue of the luohan Tamrabhadra, one of the group of glazed pottery luohans from Yixian; 10th–13th century; glazed terracotta; height: 123 cm; Guimet Museum (Paris)
Bodhisattva Avalokiteshvara in water moon form (Shuiyue Guanyin); 11th century; wood (willow) with traces of pigment, multiple-woodblock construction; height: 118.1 cm, width: 95.3 cm, depth: 71.1 cm; Metropolitan Museum of Art
Seated luohan; 18th–19th century; lapis lazuli; height: 18.1 cm, width: 25.4 cm; Metropolitan Museum of Art

Ceramics: The Art of Pottery

Chinese ceramic ware has been developing continuously since ancient times and is one of the most important forms of Chinese art. China has many natural materials needed to make ceramics. The first types of ceramics were made during the Stone Age. Later, they ranged from building materials like bricks and tiles, to handmade pottery, to the very fancy Chinese porcelain made for the emperor. Most later Chinese ceramics, even the best ones, were made in large factories. So, we don't know the names of many individual potters or painters. Many famous workshops were owned by the Emperor. Large amounts of ceramics were also sent abroad as gifts or for trade very early on.

Tomb guardian; early 700s; glazed earthenware, sancai (three-color) ware; Cleveland Museum of Art
Statuettes of dancers; 8th century; ceramic; Historical Museum of Bern (Switzerland)
The David Vases; 1351 (the Yuan dynasty); porcelain, cobalt blue decor under glaze; height: 63.8 cm; British Museum (London)
Two flasks with dragons; 1403–1424; underglaze blue porcelain; height (the left one): 47.8 cm, height (the right one): 44.6 cm; British Museum
Buddhist figurines; by Qiao Bin; circa 1503; glazed pottery; various dimensions; Metropolitan Museum of Art
Figure of an assistant to the Judge of Hell decorated in polychrome enamels with cold-painted details; 1522–1620; painted and glazed earthenware; height: 136 cm, width: 39 cm; British Museum
An assistant to the Judge of Hell, figure from a judgement group; 16th century; glazed earthenware and painted decoration; height: 148 cm, width: 36 cm, depth: 20 cm; British Museum
Jar: 18th century; porcelain painted in overglaze famille rose enamels; height: 61 cm; Metropolitan Museum of Art (New York City)
Vase; last quarter 18th century; porcelain with openwork medallions, painted in overglaze famille rose enamels, with engraved design: height: 29.8 cm, diameter: 19.1 cm; Metropolitan Museum of Art
Vase with cover; 1662–1722; porcelain with underglaze blue decoration; overall: 46.2 cm; Cleveland Museum of Art
Republic of China period Porcelain Vase
early Yaozhou ware from the Five Dynasties period, 10th Century AD
Chinese Porcelain Ewer, 17th century
Chinese Porcelain Guanyin, 17th–18th century
Chinese vase, Ming dynasty, porcelain with celadon glaze
12th century; from the southern Song dynasty.
Jin Porcelain Pillow
Qing Tablet with Map of Imperial Porcelain Factory

Decorative Arts: Beauty in Everyday Objects

Besides porcelain, many other valuable materials were skillfully worked and decorated. These were used for various purposes or just for display. Chinese jade was believed to have magical powers. In the Stone and Bronze Ages, it was used for large, ceremonial versions of weapons and tools, as well as for bi disks and cong vessels. Later, many objects and small sculptures were carved from jade, which was a difficult and slow process.

Bronze, gold, silver, rhinoceros horn, Chinese silk, ivory, lacquer, carved lacquer, cloisonne enamel, and many other materials had special artists working with them. Cloisonne, a type of enamel work, developed in interesting ways in China.

Folding screens (Chinese: 屏風; pinyin: píngfēng) were often decorated with beautiful art. Common themes included mythology, palace scenes, and nature. They were made from materials like wood, paper, and silk. Folding screens were perfect for displaying paintings and calligraphy. Many artists painted on paper or silk and then attached it to the screens.

Covered box with pavilion and figures; 1300s (the Yuan dynasty); carved lacquer; Tokyo National Museum
Chinese low-back armchair; late 16th–18th century (late Ming dynasty to Qing dynasty); huanghuali rosewood; Arthur M. Sackler Gallery, Washington D.C.
Cup; early 17th century; rhinoceros horn; height: 10.2 cm; Metropolitan Museum of Art
Folding screen; circa 1690; lacquered wood and paper; Calouste Gulbenkian Museum, Lisbon
Plate; late 17th–early 18th century; cloisonné enamel; height: 4.4 cm, diameter: 25.7 cm; Metropolitan Museum of Art
Incense burner in the shape of a rooster; 18th century; cloisonné enamel on copper; height: 19.4 cm; Metropolitan Museum of Art
Vase; 18th century; cloisonné enamel; height: 36.8 cm, width: 17.8 cm; Metropolitan Museum of Art
Chinese moon-gate bed; circa 1876; satinwood (huang lu), other Asian woods and ivory; Peabody Essex Museum (Salem, Massachusetts)

Architecture: Building with Tradition

The Giant Wild Goose Pagoda in southern Xi'an (Shaanxi province, China), built in 652 during the Tang dynasty

The Great Wall of China, near Jinshanling

Chinese architecture refers to a building style that has developed in East Asia over many centuries. It has greatly influenced the architecture of Japan, Korea, and Vietnam. The basic rules of Chinese architecture have stayed mostly the same, with changes mainly in the decorations.

From ancient times, people built strong walls from packed earth and used wooden frames for buildings. The ruins of a palace from the Shang dynasty have been found underground. In traditional China, buildings focused on being wide and horizontal. They had heavy platforms and large roofs that seemed to float above the base. The vertical walls were not as important. This is different from Western architecture, which often focuses on height.

An exception to this rule is the Chinese tower, or pagoda. These towers started as a local tradition and were later influenced by Buddhist stupas from Nepal, which were used to house religious texts. Ancient Chinese tombs show models of multi-story residential towers and watchtowers from the Han dynasty. The oldest existing Buddhist Chinese pagoda is the Songyue Pagoda, a 40-meter (131 ft) tall brick tower built in 523 CE.

From the 6th century onwards, stone buildings became more common. The oldest stone and brick arches are found in Han dynasty tombs. The Zhaozhou Bridge, built from 595 to 605 CE, is China's oldest existing stone bridge and the world's oldest fully stone arch bridge with open spandrels.

Inside the Forbidden City, an example of Chinese architecture from the 15th century

In old China, architects and builders were not as highly respected as government officials. Much of the knowledge about early Chinese architecture was passed down from father to son or from teacher to apprentice. However, there were some early books about Chinese architecture. The most important one is the Yingzao Fashi, a building manual written around 1100 and published in 1103. It has many detailed pictures and diagrams showing how to build halls and other parts of buildings.

Certain architectural features were only allowed for buildings made for the Emperor. For example, yellow roof tiles were used because yellow was the Imperial color. You can still see yellow roof tiles on most buildings in the Forbidden City. However, the Temple of Heaven uses blue roof tiles to represent the sky. The roofs are almost always supported by special brackets. The wooden columns and walls of buildings are often red.

Today, many Chinese buildings use modern and Western styles.

Relief from the Wu Family Shrines (Jiaxiang County, Shandong) that shows Han dynasty architecture, 151 CE
The Guanyian Pavilion of the Dule Monastery (Jixian, China), 984
The Songyue Pagoda, Henan, 523
Hall of Prayer for Good Harvests, the main building of the Temple of Heaven (Beijing), 1703–1790
The Longxing Temple in Hebei (Zhengding, China), 1052
Pagoda of Fogong Temple, Shanxi, 1056
The Dacheng Hall of the Temple of Confucius Qufu, Shandong, 1499

Chinoiserie: European Take on Chinese Style

Chinoiserie is how Europeans copied and interpreted Chinese and East Asian art. You can see it in decorative arts, garden design, architecture, and even music. This style became popular in the 18th century because of increased trade with China and East Asia.

Chinoiserie is similar to the rococo style. Both styles use lots of decoration, uneven shapes, and focus on materials and stylized nature. Chinoiserie often shows subjects that Europeans at the time thought were typical of Chinese culture.

The Chinese House, a chinoiserie garden pavilion in Sanssouci Park, from Potsdam, Germany
Kneehole writing table; circa 1760; mahogany, mahogany veneer and gilt bronze; 88.9 × 97.8 × 62.2 cm; Metropolitan Museum of Art (New York City)
Audience of the Chinese Emperor; 1766; hard-paste porcelain; overall: 39.8 × 33.2 × 21.7 cm; Metropolitan Museum of Art
Drop-front secretaire (secrètaire à abattant); 1770–1775; painted and varnished oak, mahogany, purplewood and gilt-bronze mounts; 152.4 × 67.9 × 34 cm; Metropolitan Museum of Art
Ornamental Design from "Nouvelle suite de cahiers chinois a l'usage des Dessinateurs et des peintres"; after 1775; etching with colored inks à la poupé on off-white laid paper; Cooper Hewitt, Smithsonian Design Museum (New York City)
The Chinese Room in the Royal Palace (Berlin); 1850; brush and watercolor and gouache, graphite on white wove paper; Cooper Hewitt, Smithsonian Design Museum
Pair of round and flat bodied bottles; 1870–1880; porcelain; first bottle: 26.4 × 21 × 10.6 cm, second bottle: 25.7 × 20.2 × 10.2 cm; Metropolitan Museum of Art
The Tea House at Myasnitskaya Street in Moscow (Russia)

Modern Chinese Art: New Beginnings

New China Art (1912–1949)

Sanmao, one of the most well-known comic book characters in China

The Modern Art Movement

The effort to modernize Chinese art began in the late Qing dynasty. Traditional art forms started to lose their appeal as society changed. Artists wanted to express new ideas about the world. They explored two main paths: one was to learn from the past to improve the present, and the other was to "learn new methods" from other countries.

Learning from the Past

The art made for the social elite wasn't appealing to the growing middle class. Artists like Wu Changshuo (1844–1927) in Shanghai started painting flowers and plants. His paintings used bold colors and strong brush strokes, making them easier for everyone to enjoy. Qi Baishi (1864–1957) painted things like crabs and shrimps, which were even more relatable to common people.

Huang Binhong (1865–1955) criticized the old literati paintings and created his own landscape style by studying Chinese art history. Zhang Daqian (1899–1983) used wall paintings from the Dunhuang caves to help him move beyond traditional literati art.

Learning New Methods

The Lingnan School (岭南画派) borrowed some ideas from Western art for their ink paintings. Gao Jianfu (1879–1951), one of the founders, wanted to use his paintings to highlight national issues and bring positive change to society.

Flames on the Eastern Battlefront by Gao Jianfu, 1937 ink and colors on paper
Portrait of Madam Cheng (1941), oil on board, Xu Beihong

A bigger change in style started with Kang Youwei (1858–1927), a reformer who liked the more realistic art of the Song dynasty. He believed Chinese art could be refreshed by using realistic European art techniques. Xu Beihong (1895–1953) took this idea seriously and went to Paris to learn these skills. Liu Haisu (1896–1994) went to Japan for Western techniques. Both Xu and Liu became presidents of important art schools, teaching new ideas and skills to young artists.

Cai Yuanpei (1868–1940) was a leader in the "New Culture Movement". Those involved believed that intellectual activities should benefit everyone, not just the elite. Cai's idea that art could help society was adopted by Lin Fengmian (1900–1991).

Together with Yan Wenliang (1893–1988), Xu, Liu, and Lin were known as the "Four Great Academy Presidents." They led the national modern art movement. However, wars and civil unrest prevented this movement from fully growing. After the war, Chinese modern art developed differently in mainland China, Taiwan, Hong Kong, and overseas.

Postwar Chinese Art (1949–1976)

This period covers from 1949, when the Chinese civil war ended, to 1976, when mainland China opened up more to the outside world.

Mainland China: Art for a Purpose

The postwar era in mainland China can be divided into "The 17 Years" (1949 to 1966) and the "Cultural Revolution" (1966 to 1976).

The 17 Years

Chinese artists adopted social realism, which combined revolutionary realism and revolutionary romanticism. Art was not valued for its own sake but was used for political purposes. According to Mao Zedong, art should be a "powerful weapon for uniting and educating the people." Praising political leaders and celebrating socialist achievements became the main themes. Western art styles like Cubism and Abstraction were seen as superficial.

The Anti-Rightist Campaign of 1957 greatly harmed artists. Those labeled as "rightists" lost their right to create art and even their jobs. Their social standing and that of their families suffered greatly.

Some important paintings from this time include:

Li Keran, Reddening of Ten Thousand Mountains
Huang Wei, The Snowstorm
Dong Xiwen, The Founding Ceremony of the Nation was changed several times due to political shifts.

The Cultural Revolution

These ten years (1966-1976) are also called the "Ten Years of Calamity." To destroy old social order, countless temples, historic sites, artworks, and books were ruined or burned. During this time, portraits of Mao and propaganda posters were everywhere. Anything even slightly out of line was destroyed, and the person behind it was punished. For example, a painting of an owl with one eye open and one closed was seen as a sign of unhappiness. Many famous artists were persecuted. The "Four Great Academy Presidents" (except Xu, who had passed away) were all jailed, and their work was destroyed.

Despite these difficulties, some notable paintings were created:

Chen Yifei, The Yellow River
Sun Jingbo, New Song by Ah Xi

Hong Kong: Blending East and West

Hong Kong was a British colony until 1997. Local art groups were mostly run by Westerners until many Chinese artists moved there during the Sino-Japanese War. New art colleges were started after the war. Local artists began holding shows in the early 1960s. After a period of moving away from traditional Western art, some artists started creating experimental works that combined both Western and Eastern techniques. Then came a call to return to Chinese traditional art and create unique Hong Kong art forms. Lui Shou-Kwan led this trend, adding Western ideas to his Chinese ink paintings.

Lui Shou Kwan, 1965

Chinese Artists Overseas

Paris

Many Chinese artists went to Paris in the early 1900s to study Western art, such as Lin Fengmian and Wu Guanzhong. Most of them returned to China before 1949 and became leaders in the modern art movement. Some artists, like Sanyu and Pan Yuliang, stayed in Paris because of its rich international art scene. Their paintings often had a mix of Chinese and Western elements. These artists not only influenced Chinese modern art but also introduced modern Eastern art to Parisians.

Zao Wou-Ki, 1959

United States

Li Tiefu (1869–1952) was a skilled oil painter who studied in Canada and the United States. He was active in the revolutionary movement led by Sun Yat-sen.

Zeng Youhe (1925–2017) was born in Beijing and gained international recognition for her work. She moved to Honolulu in 1949. Her paintings were abstract but still had a touch of traditional Chinese ink painting.

Zeng Youhe, 1961

Taiwan

Traditional Chinese art didn't have strong roots in Taiwan. Art forms there were mostly decorative until young people who grew up under Japanese rule received formal art education in Japan. Not held back by old traditions, they explored "learning new methods." When Nationalists arrived in Taiwan, a group of ambitious young artists continued the modern art movement. The most notable groups were the Fifth Moon Group and the Ton-Fan Art Group.

Fifth Moon Group

Fong Chung-ray, ink on paper, 1966

The original members of this group were art students. They wanted to show that creating new art was valuable, even if it didn't directly help art teaching. Later, it became a movement to modernize Chinese art.

The Fifth Moon Group studied Western art and decided that abstract art was the best way for modern Chinese art to express itself. They believed that the best Chinese paintings didn't need to show realistic objects. Instead, they focused on atmosphere and "vividness" from brush strokes and how ink interacted with paper. They felt that the beauty of a painting could be seen directly from its shapes, textures, and colors, without needing to represent real things.

The group was active from 1957 to 1972. Key members included Liu Guosong and Fong Chung-ray.

Ton-Fan Art Group

The members of this group were students of Li Zhongsheng, an artist who was active in the modern art movement. He and other artists introduced modern art to Taiwan through magazines and articles. His teaching style was unique and encouraged students to think for themselves.

The group's goal was to introduce modern art to the public. They believed there should be no limits on the form or style of a modern Chinese painting, as long as it expressed a Chinese meaning. The group was active from 1957 to 1971.

Contemporary Chinese Art (Mid-1980s – 1990s and Beyond)

Modern Expressions

Han Yajuan: Fashion Ensemble. Oil on canvas, 2010 (180 cm × 360 cm).

Contemporary Chinese art, also called Chinese avant-garde art, has continued to grow since the 1980s, after the Cultural Revolution. This art includes painting, film, video, photography, and performance art.

In the past, art shows that were seen as controversial were often shut down by the police. Performance artists especially faced the risk of arrest in the early 1990s. More recently, the Chinese government has been more accepting. However, many internationally famous artists are still limited in how much media attention they get at home, or their exhibitions might be ordered to close. Some leading contemporary visual artists include Ai Weiwei, Cai Guoqiang, and Zhang Xiaogang.

Visual Art: New Voices

Starting in the late 1980s, younger Chinese visual artists gained more exposure in the West, partly through curators outside China. Curators and critics within China also helped promote certain types of painting. They spread the idea that art could be a strong social force in Chinese culture. There was some debate because critics felt that these ideas about contemporary Chinese art were sometimes based on personal preferences, which could make it harder for many avant-garde artists to connect with Chinese officials and Western art buyers.

The Art Market: A Growing Global Presence

All The Mountains Blanketed in Red by Li Keran

Today, the market for Chinese art, both old and new, is growing very fast around the world. In 2006, the Voice of America reported that modern Chinese art was selling for record prices both internationally and in China. Some experts even worried that the market might be getting too hot.

In 2011, China became the world's second-largest market for art and antiques, making up 23 percent of the total art market. This was just behind the United States. A big change driving this growth is that new wealthy buyers from countries once considered poor often prefer non-Western art. For example, a large art gallery has offices in New York and Beijing, but its clients mainly come from Latin America, Asia, and the Middle East.

One area that has become a center for art and business is the 798 Art District in Beijing. In 2006, the artist Zhang Xiaogang sold a 1993 painting for US$2.3 million. This painting showed blank-faced Chinese families from the Cultural Revolution era. In 2007, Yue Minjun's work Execution sold for a record nearly $6 million at Sotheby's.

Other artworks have been sold at places like Christie's. A Chinese porcelain piece with the mark of the Qianlong Emperor sold for HKD $151.3 million. Sotheby's and Christie's are major places where classic Chinese porcelain art is sold, including pieces from the Ming dynasty. The International Herald Tribune reported that Chinese porcelains were highly sought after in the art market.

A 1964 painting by Li Keran called "All the Mountains Blanketed in Red" sold for HKD $35 million. Auctions also took place at Sotheby's where Xu Beihong's 1939 masterpiece "Put Down Your Whip" sold for HKD $72 million. The art market isn't just for fine arts; many other types of contemporary pieces are also sold.

Where to See Chinese Art

National Art Museum of China (Beijing)
Palace Museum (Forbidden City, Beijing)
China Art Museum (Shanghai)
Power Station of Art (Shanghai)
National Palace Museum (Taipei, Taiwan)