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Chinese painting is one of the oldest continuous artistic traditions in the world. The earliest paintings were not representational but ornamental; they consisted of patterns or designs rather than pictures. Stone Age pottery was painted with spirals, zigzags, dots, or animals. It was only during the Warring States Period (403-221 B.C.) that artists began to represent the world around them.

Painting in the traditional style is known today in Chinese as guó huà 国画, meaning 'national' or 'native painting', as opposed to Western styles of art which became popular in China in the 20th century. Traditional painting involves essentially the same techniques as calligraphy and is done with a brush dipped in black or colored ink; oils are not used. As with calligraphy, the most popular materials on which paintings are made of are paper and silk. The finished work is then mounted on scrolls, which can be hung or rolled up. Traditional painting also is done in albums and on walls, lacquerwork, and other media.

There are mainly two techniques in Chinese painting, which are

  • Meticulous - Gong-bi (工筆) often referred to as "court-style" painting
  • Freehand - Shui-mo (水墨) loosely termed watercolour or brush painting. The Chinese character "mo" means ink and "shui" means water. This style is also referred to as "xie yi" (寫意) or freehand style.

Artists from the Han (202 BC) to the Tang (618–906) dynasties mainly painted the human figure. Much of what we know of early Chinese figure painting comes from burial sites, where paintings were preserved on silk banners, lacquered objects, and tomb walls. Many early tomb paintings were meant to protect the dead or help their souls get to paradise. Others illustrated the teachings of the Chinese philosopher Confucius or showed scenes of daily life.

Many critics consider landscape to be the highest form of Chinese painting. The time from the Five Dynasties period to the Northern Song period (907–1127) is known as the "Great age of Chinese landscape". In the north, artists such as Jing Hao, Fan Kuan, and Guo Xi painted pictures of towering mountains, using strong black lines, ink wash, and sharp, dotted brushstrokes to suggest rough stone. In the south, Dong Yuan, Juran, and other artists painted the rolling hills and rivers of their native countryside in peaceful scenes done with softer, rubbed brushwork. These two kinds of scenes and techniques became the classical styles of Chinese landscape painting.

Early Imperial China (221 BC–AD 220)

In imperial times (beginning with the Eastern Jin Dynasty), painting and calligraphy in China were the most highly appreciated arts in court circles and were produced almost exclusively by amateurs—aristocrats and scholar-officials—who had the leisure time necessary to perfect the technique and sensibility necessary for great brushwork. Calligraphy was thought to be the highest and purest form of painting. The implements were the brush pen, made of animal hair, and black inks made from pine soot and animal glue. In ancient times, writing, as well as painting, was done on silk. However, after the invention of paper in the 1st century CE, silk was gradually replaced by the new and cheaper material. Original writings by famous calligraphers have been greatly valued throughout China's history and are mounted on scrolls and hung on walls in the same way that paintings are.

Period of division (220–581)

During the Six Dynasties period (220–589), people began to appreciate painting for its own beauty and to write about art. From this time we begin to know about individual artists, such as Gu Kaizhi. Even when these artists illustrated Confucian moral themes – such as the proper behavior of a wife to her husband or of children to their parents – they tried to make the figures graceful.

Six principles

The "Six principles of Chinese painting" were established by Xie He, a writer, art historian and critic in 5th century China. He is most famous for his "Six points to consider when judging a painting" (绘画六法, Pinyin:Huìhuà Liùfǎ), taken from the preface to his book "The Record of the Classification of Old Painters" (古画品录; Pinyin: Gǔhuà Pǐnlù). Keep in mind that this was written circa 550 A.D. and refers to "old" and "ancient" practices. The six elements that define a painting are:

  1. "Spirit Resonance", or vitality, and seems to translate to the nervous energy transmitted from the artist into the work. The overall energy of a work of art. Xie He said that without Spirit Resonance, there was no need to look further.
  2. "Bone Method", or the way of using the brush. This refers not only to texture and brush stroke, but to the close link between handwriting and personality. In his day, the art of calligraphy was inseparable from painting.
  3. "Correspondence to the Object", or the depicting of form, which would include shape and line.
  4. "Suitability to Type", or the application of color, including layers, value and tone.
  5. "Division and Planning", or placing and arrangement, corresponding to composition, space and depth.
  6. "Transmission by Copying", or the copying of models, not only from life but also the works of antiquity.

Sui and Tang dynasties (581–960)

Further information: Tang Dynasty painting

During the Tang Dynasty, figure painting flourished at the royal court. Artists such as Zhou Fang showed the splendor of court life in painting of emperors, palace ladies, and imperial horses. Figure painting reached the height of elegant realism in the art of the court of Southern Tang (937-975).

Most of the Tang artists outlined figures with fine black lines and used brilliant color and elaborate detail. However, one Tang artist, the master Wu Daozi, used only black ink and freely painted brushstrokes to create ink paintings that were so exciting that crowds gathered to watch him work. From his time on, ink paintings were no longer thought to be preliminary sketches or outlines to be filled in with color. Instead they were valued as finished works of art.

Beginning in the Tang Dynasty, many paintings were landscapes, often shanshui (山水, "mountain water") paintings. In these landscapes, monochromatic and sparse (a style that is collectively called shuimohua ), the purpose was not to reproduce exactly the appearance of nature (realism) but rather to grasp an emotion or atmosphere so as to catch the "rhythm" of nature.

Song and Yuan dynasties (960–1368)

In the Song Dynasty period (960–1279), landscapes of more subtle expression appeared; immeasurable distances were conveyed through the use of blurred outlines, mountain contours disappearing into the mist, and impressionistic treatment of natural phenomena. Emphasis was placed on the spiritual qualities of the painting and on the ability of the artist to reveal the inner harmony of man and nature, as perceived according to Taoist and Buddhist concepts. One of the most famous artists of the period was Zhang Zeduan, painter of Along the River During the Qingming Festival. Yi Yuanji achieved a high degree of realism painting animals, in particular monkeys and gibbons.

During the Southern Song period (1127-1279), court painters such as Ma Yuan and Xia Gui used strong black brushstrokes to sketch trees and rocks and pale washes to suggest misty space.

While many Chinese artists were attempting to represent three-dimensional objects and to master the illusion of space, another group of painters pursued very different goals. At the end of Northern Song period, the poet Su Shi and the scholar-officials in his circle became serious amateur painters. They created a new kind of art in which they used their skills in calligraphy (the art of beautiful writing) to make ink paintings. From their time onward, many painters strove to freely express their feelings and to capture the inner spirit of their subjec

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