The Chinese culture and the psychological structure of the Chinese people determine that the Chinese painting differs from other types of paining in its imagism. Although it has had changes in history, it remains unique in forms and coloring.
Despite painting-related statements by scholars in pre-Qin (i.e. Before 221 BC) being sparsely documented, they are profound and extensive in significance. Zhang Yanyuan of the Tang Dynasty traced Chinese painting to the legendary age in hisA Record of Famous Paintings in Historyand proposed for the first time that “painting and calligraphy are inseparable”. Graphics were separated from texts, hence the origin of painting. The study of painting skills started from the Qin and Han Dynasties. In the Wei and Jin Dynasties, nobles began to take interest in painting and study its principles. Thus Chinese painting flourished to its prime in periods of the Sui, Tang and the Five Dynasties.
Today, painting of the Song, Yuan, Ming and Qing Dynasties are categorized into imperial court paintings, scholar paintings and folk paintings according to the status of artists and the themes. Scholar paintings have produced numerous masterpieces, and are known for their abstruse connotations, profound philosophy and exquisite techniques. They vividly show the depth and height of Chinese culture. Modern day art-archaeological findings provide detailed proofs for the study of Chinese paining, while enriching the nation’s resource of painting assets.
Along the axle of historical development, this exhibition is a systematic study into the realm of Chinese paintings. This is an exploration of aestheticism. Let the will aspire to the path of duty. Let the attainment for good be firmly grasped. Let perfect virtue be accorded with. Let tranquility and enjoyment be found in arts as a passage of profound pursuit.