Essential Terms of Chinese Painting

To many outside China, Chinese art has long been admired and appreciated but not fully understood. In purpose, format, technique and subject it is vastly different to many of the great works by Western artists, and it is these differences which make it truly unique. This volume offers explanation, insight and examples into every aspect of Chinese painting, thus making way for a fuller and more complete appreciation.

Throughout twelve chapters, some nine hundred terms of Chinese painting, from brushstrokes, the implements used, and the theories and techniques employed are discussed, presenting many ways to appreciate oeuvres rendered in traditional style with cultural and aesthetic perspectives. The selection in this book is not intended to be exhaustive, but relatively comprehensive for readers and art lovers who wish to know more about certain aspects of Chinese art.

The idea of compiling such a compendium of Chinese painting has been intended for a long while, however, it would not have been made possible without the support and encouragement from many friends, experts, scholars and professionals. The authors would, first of all, like to thank City University of Hong Kong Press for their interest in publishing this manuscript; especially to Patrick Kwong, former Director of CityU Press and the members of the Editorial Subcommittee for their endorsement; Edmund Chan, Associate Director of CityU Press, for his tremendous support in making things happen; and the editorial team including Joanna Pierce, Chris Chan, Susanna Siu and a host of auxiliary staff and designers for their tireless effort and professional input to the manuscript.

In particular, we would like to express our hearty gratitude to Professor Jao Tsung-i for his special touches and his encouragement during the initial stages with the Chinese title of this book, his stimulating advice over the years and his unconditional kindness in allowing us to make use of his own works as well as his private collection for illustrations in this book. Our profound thanks are also due to the Jao Studies Foundation, Jao Tsung-I Petitle Ecole Fan Club, Dunhuang Academy and Yun Quan Studio for their full support of the publication.

We are particularly grateful to Professor Way Kuo, President and Distinguished Professor of City University of Hong Kong, for writing a foreword to this book. Our appreciation and thanks must also be extended to Professor Lee Chack-fan, Chancellor of Chu Hai College of Higher Education and former Pro-Vice-Chancellor of the University of Hong Kong; Professor Wong Shiu Hon, Honorary Principal Advisor of the Tasmanian Museum and Art Gallery; Mr. Bill Bleathman, former Director of the Tasmanian Museum and Art Gallery; Dr. Simon Suen, Chairman of the Jao Tsung-I Petite Ecole Fan Club; and Professor Yeung Chun-tong, former Director of the University Museum and Art Gallery of the University of Hong Kong, for their warm words of recognition.

Furthermore, we are greatly indebted to Lei Yu and his team from the Lei Yu Photographs and Design Company for their generous contribution in coordinating the printing of this book; to Christine To of Jao Tsung-I Petite Ecole for her immense research and editorial support; and to Virginia Wai Kwan Choy for her unhesitating assistance in various preparatory works.

Lastly, we would like to acknowledge the permission for reprinting copyright material given by the National Palace Museum, Taipei; Palace Museum, Beijing; Shanghai Museum; Tokyo National Museum and Ryukoin, Daitoku-ji, Kyoto. It is all your support and encouragement that have made this publication in reality. We hope this book will be a helpful tool for readers in enjoying the visual delights of the beautiful and fascinating world of art.
It is all your support and encouragement that have made this publication in reality. We hope this book will be a helpful tool for readers in enjoying the visual delights of the beautiful and fascinating world of art.