The study of China's art history mainly focuses on overseas scholars, and the key research fields should be supplemented in depth and in detail. Painted pottery totem, the concept of tombs in Qin and Han Dynasties, the political metaphor of painting in Song Dynasty, the style judgment of painting in Song and Yuan Dynasties, the patrons of Ming and Qing Dynasties, and the integration of eastern and western art from Ming and Qing Dynasties to modern times are all very important academic research fields. Some typical buildings, crafts and sculptures cannot be ignored, and efforts are needed.

The first part is prehistoric and pre-Qin art

pottery

Colored pottery

Black pottery (early Ming porcelain)

Yangshao culture (Banpo type: painted pottery basin with three fish patterns/painted pottery basin with fish patterns on human face) (Miaodigou type: stork axe map)

Majiayao culture (focusing on the evolution of painted pottery style and the change of totem meaning between cultures)

jade

Jasper Dragon (Evolution of Jade Function: Shenyu-Liyu Culture)

Jade cong in Liangzhu (the inheritance and evolution relationship between jade cong and gluttonous ornamentation)

Witch History and Totem Worship

Clay Statue of Goddess (Witch History, Culture and Matriarchal Society)

bronze vessels

Gluttony pattern [gluttonous head on ancient bronze wares]

Ding is dedicated to his mother, Amyl.

Fang Ding/Mao Dinggong with breastplate pattern

Lotus crane square pot (transition and evolution of style, wax loss method)

Picking mulberry, feasting and grabbing patterned copper pot (secular theme)

(Evolution and reasons of bronze modeling and decoration in Xia, Shang and Zhou Dynasties)

The Embodiment of Tibetan Rites in Bronze Civilization

Civilizations outside middle-earth

Four sheep/tigers eat people.

Sanxingdui bronze statue

Funeral civilization

Silk Painting in Warring States Period (Dragon, Dragon and Phoenix Silk Painting)

Secular civilization

Lacquer-painted figures, chariots and horses, tourist maps

Lacquer painting Nuo instrument map

Early writing

oracle bone script

Ancient bronze inscriptions

Inscriptions on drum stones in the Warring States Period (475-22 BC1year)

Pre-Qin theory

Let the people know that God is treacherous.

Start simple, and then go deep into it.

Free and unfettered

Elephants can't hear loud sounds.

The second part is the art of Qin and Han Dynasties

Funeral and Sacrificial Culture

The evolution of tomb murals and tomb shapes in Qin and Han dynasties (grasping the core changes from the aspects of concept, content and style)

T-shaped silk painting (advanced form of funeral silk painting)

Stone relief in Infinite Words (see the supplement to Wu Hong's research on Infinite Words)

Portrait brick/lotus pond fishing and hunting portrait brick

The Connotation of the Concept Change of Terracotta Warriors and Horses in Qinling and Hanyang Mausoleums

Comparison between Terracotta Warriors and Huo Qubing Style

Comparison between the images of stepping on Xiongnu and flying swallow.

To ward off evil spirits/Tianlu/Shique

Immortal thoughts

The immortal thought between Huo Qubing's tomb and Boshan furnace

Qian Shu/Ren/Ma Tian

Qin and Han calligraphy

Small/small seal characters

Han Chuan/Li/Cao

Shengqi

Plain yarn single coat/long letter palace lantern/bronze mirror

Qin-Han theory

Military personnel

The third part is the art of Wei, Jin, Southern and Northern Dynasties, Sui and Tang Dynasties

Painting in Wei, Jin, Southern and Northern Dynasties

On the consciousness of painting and calligraphy in Wei, Jin, Southern and Northern Dynasties

Wei, Jin, Southern and Northern Dynasties and the Artistic Transformation of Qin and Han Dynasties

Gu Kaizhi's Art and Theory

Conceptual changes and understanding of the theory of vivid charm in past dynasties

The Evolution Clues of "Dense" in the History of China

A Study of Yang Zihua's "The Picture of the Northern Qi Dynasty" and the Mural of Lou Rui's Tomb

Yan Family and Royal Painting Design

Yan Liben's "Travel Map"/"Emperors Map of Past Dynasties" (the connection with the Dunhuang Mogao Grottoes and the traditional style of emperor paralysis)

Description of Wu Daozi's Born of Gautama Buddha and Blue Leaves/Wu Dai's When the Wind Comes, A Grass Out of Water.

Wu sample, Zhang sample, Cao sample and Zhou sample-four samples.

The Development and Evolution of Ladies' Painting

Zhang Xuan's You Chuntu, Mrs. Guo, rammed earth, Mrs. Fan and Mrs. Zanhua.

Zhan Ziqian's You Chuntu, Li's Father and Son and the Great Green Landscape Painting

Han Gan's "Horse Wrapping Map" and "White Painting in the Night"/Han Wei's "Five Cattle Map"

Tomb paintings and handicrafts

Seven sages of bamboo forest and brick painting in Rongqi period

Mao Ning Shishi line engraving

Stone Carving of Filial Son Coffin —— Changes of Filial Son Images in Past Dynasties

The lacquer painting screen of Sima Jinlong's tomb and his wife's proverbs (see Wu Hong's book "Heavy Screen")

Tang Sancai/Liu Jun in Zhaoling/Shishi in Shunling

Portrait of the Tang Dynasty

Chang 'an City in Tang Dynasty/Gold and Silver Wares in Tang Dynasty/Lingyang Samples/Gold-plated Dance Horse Cup Silver Copper Pot/Tang Mirror

On Painting in Wei, Jin, Sui and Tang Dynasties

Gu Kaizhi's painting theory (the change of the concept of form and spirit in the history of painting theory)

Sheikh and "Six Laws" (see Supplement to History of Painting in China)

Changes of China's Painting Evaluation Criteria —— Four Grades and Five Grades

Zong Bing's Preface to Painting Landscape and Its Influence on China's Concept of Landscape Painting

Yao Zui's "learning from nature" and Zhang Yun's "learning from nature, learning from heart" (the change of China's subjective and objective evaluation criteria)

Pei, Zhu, Zhang Yanyuan and other painting theorists.

Wei, Jin, Sui and Tang Dynasties calligraphy

Wang Xizhi's Preface to Lanting Collection and "Two Kings"

Both calligraphy styles of face are powerful, but the styles are different.

Point-and-shoot speed

Buddhist cultural relics in Wei, Jin, Sui and Tang Dynasties

Qizil Grottoes/Dunhuang Mogao Grottoes

The Development and Evolution of Buddhist Art from Wei, Jin, Southern and Northern Dynasties to Sui and Tang Dynasties

Yungang Grottoes-Tanyao Cave 5

Longmen Grottoes and Lushena Buddha

Song Yue Temple Tower/Beixing Temple

The fourth part is the fine arts of the Five Dynasties, Song and Yuan Dynasties.

Song and Yuan painting

figure painting

Zhou Wen's weightlifting screen chess map and palace map

Gu's "Han Xizai's Night Banquet" (for a deeper understanding of the background of painting, the meaning and connotation of media materials, see "Heavy Screen". )

The development and evolution of Li Wumatu and Wei Yan's pastoral drawings and sketches.

Wu Zongyuan's immortal fight in Yuan Dynasty

The Riverside Scene at Qingming Festival by Zhang Zeduan/Autumn Baby Play by Su Hanchen/Merchant Map by Song Li.

The Development of Genre Painting in Song Dynasty and Its Causes

Chen Juzhong and Zhang Jun's The Return of Moon Hee to Han Dynasty.

Simple figure painting and Kai Liang

landscape

Jing Guan Dong Ju and the Establishment of North-South Landscape Schema

On the Formation of Dong Yuan's Historical Position

The Development and Change of Stone Painting Methods in Past Dynasties

Li Cheng's Reading Monuments and Pictures and the influence of Li Guo School and later generations.

Fan Kuan's trip to the Western Hills (media material, political metaphor, background of the times, etc.). )

Historical changes of the meaning of "three major landscapes"

Guo Zao chun tu

Connotation Metaphor of Wang Ximeng's Wonders of Xiaoxiang, a Thousand Miles of Rivers and Mountains

Mi Youren and Mi's "Yunshan-Wonder Map of Xiaoxiang" (deeply understanding the political metaphor of Xiaoxiang theme painting and the different meanings of "Yunshan" in paintings of past dynasties)

Zhao Ling's Summer Lakeside Villa Map and Small Landscape

Li Tang's Map of Wanhe and Song Feng and Cai Weitu (refer to Huang Xiaofeng's Study of Cai Weitu).

Four Schools in Southern Song Dynasty —— Landscape Changes in Southern Song Dynasty and Northern Song Dynasty

Changes of Landscape Paintings in Song and Yuan Dynasties/Comparison between Academy Landscape Paintings and Literati Landscape Paintings

The styles of painters and patrons in China are dated (see Gao Juhan's "The Artist's Life"). Landscape painting (see Fang Wen's "Heart Seal").

Two typical styles of Zhao Mengfu.

Qian Xuan's "Floating Jade Mountain Residence" and "West Straight Goose View" —— Also on "Jean (Li) Family Painting" and "Expert Painting"

Gao Yun Heng Tu (pay attention to the difference and connection with Mi Yun Shan Tu)

The Relationship between Yuan Sijia and Literati Painting

The Influence of Ni Zan's Figure Painting on Ming and Qing Dynasties

Comparison of Shade Painting Styles between Wang Meng and Ni Zan

Song and Yuan Paintings in the Five Dynasties

The "Six Essentials" in Hao Jing's calligraphy notes inherited and developed the "Six Methods" and the influence of several key issues on later landscape paintings.

The Expression of "Three Distances" in Lin Gao Quan Zhi in Chinese Painting

Guo's Painting and Experience (focusing on the combination of verve and personality and its influence on later judgment)

Su Shi's Theory and Its Influence on Literati Painting

Qian Xuan's Theory of "Morale"

Zhao Mengfu's "Theory of Ancient Meaning" and "The Same Origin of Calligraphy and Painting"

Ni Zan and "A Brush of Grass" and "Theory of Self-entertainment"

Flower and bird painting

Huang Fugui and Xu Xiyeyi

Cui Bai's "Double Happiness Map"

The Theme and Style Preference of Evonne's Flower-and-Bird Painting and the Institutional Problems of Hanlin Painting Academy

Chang Fa and Zen Flower and Bird Painting