Chinese PaintersA CRITICAL STUDYFrances Seaver translationChapter navigation25 reading sectionsGo to chapterChoose a chapter…Front matterA CRITICAL STUDYRAPHAEL PETRUCCIFRANCES SEAVERLAURENCE BINYONBRENTANO’SPREFACEBIOGRAPHICAL NOTEILLUSTRATIONSINTRODUCTIONI. EQUIPMENT OF THE PAINTERII. REPRESENTATION OF FORMSIII. DIVISION OF SUBJECTSIV. INSPIRATIONI. ORIGINSII. BEFORE THE INTERVENTION OF BUDDHISMIII. THE INTERVENTION OF BUDDHISMIV. THE T’ANG PERIOD—SEVENTH TO TENTH CENTURIESV. THE SUNG PERIOD—TENTH TO THIRTEENTH CENTURIESVI. THE YÜAN PERIOD—THIRTEENTH AND FOURTEENTH CENTURIESVII. THE MING PERIOD—FOURTEENTH TO SEVENTEENTH CENTURIESVIII. THE CH’ING PERIOD—SEVENTEENTH TO TWENTIETH CENTURIESCONCLUSIONBIBLIOGRAPHYINDEX OF PAINTERS AND PERIODSPrevious chapter ←Front matterNext chapter →RAPHAEL PETRUCCIAll chapters and sections (25)Opening pagesFront matterOther sectionsA CRITICAL STUDYRAPHAEL PETRUCCIFRANCES SEAVERLAURENCE BINYONBRENTANO’SPREFACEBIOGRAPHICAL NOTEILLUSTRATIONSINTRODUCTIONPart 1 · Other sectionsI. EQUIPMENT OF THE PAINTERII. REPRESENTATION OF FORMSIII. DIVISION OF SUBJECTSIV. INSPIRATIONPart 2 · Other sectionsI. ORIGINSII. BEFORE THE INTERVENTION OF BUDDHISMIII. THE INTERVENTION OF BUDDHISMIV. THE T’ANG PERIOD—SEVENTH TO TENTH CENTURIESV. THE SUNG PERIOD—TENTH TO THIRTEENTH CENTURIESVI. THE YÜAN PERIOD—THIRTEENTH AND FOURTEENTH CENTURIESVII. THE MING PERIOD—FOURTEENTH TO SEVENTEENTH CENTURIESVIII. THE CH’ING PERIOD—SEVENTEENTH TO TWENTIETH CENTURIESCONCLUSIONBIBLIOGRAPHYINDEX OF PAINTERS AND PERIODSBY◇← Front matterRAPHAEL PETRUCCI →