traditional chinese painting was fundamentally an abstract art form.although there were no absolute abstract chinese paintings in its originalmeaning, objects in a painting were not a direct copy of the nature worldfollowing the principle of perspective. it was rather a, combination orharmony between the nature world and human emotion, a product of"heaven (nature) and human". the effect chinese painters would like toillustrate in their paintings was not a visual effect of colors and patternsas their western counterparts would like to achieve. the description ofobjects in their paintings was no means accurate and few concerned aboutsuch factors as colors, principle of perspective, anatomy, surface feel, andrelative size. what they would like to achieve was a world in their mind ofnon materials. the nature world was not an object for them to make a truecopy and it was rather elements for them to build their own world.
《中国绘画(英文版)》由林茨著。
林茨（1958—2009），本名张谦，毕业于浙江美术学院及中国艺术研究院，获文学硕士学位，中国艺术研究字美术所研究员，从事艺术史和视觉艺术研究。已出版的主要作品有《百褶裙》谷》《芒果树》，专著《摄影学》即将由三联书店出版。
Preface
From Gu Kaizhi to Wu Daozi
Tomb Chamber Paintings
The Most Romantic Painting
"Communication of the Soul"
Spring Outing (You-Chun TU)
Emperors of Great Prosperity
Another Figure Painting
"The Painting Saga"
Famous Paintings Record of Past Dynasties (Li-dai ming-hua ji)
Desert Treasures
Buddhism Going East
Dunhuang Mogao Caves
Lucid Mountains and Remote Streams
Northern Painters and Southern Painters
Song Huizong and his period
Along the River During the Qingming Festival
(Qingming Shanghe Tu)
Panorama Shanshui
Su Shi and Mi Fu
Scholar Paintings
Zhao Mengfu and "Four Masters of the Yuan Dynasty"
Plum Blossom, Orchid, Bamboo and Stone
"The Southern and Northern Sects"
"Four Monks" and "Four Wangs"
The End of Scholar Paintings and Famous Chinese Painters of Modern Times
Modern Chinese Paintings
Painters Studying Abroad
Revolutionary Realism
"Modern" and "Post-Modern"
Appendix: Chronological Table of the Chinese
Dynastie
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