Flower Border

From the tenth century to the end of the Manchu Ch'ing dynasty early in this century, the dominant concern of the Chinese painter has been the natural world of landscape, trees and rocks, birds and animals, flowers and bamboo— "the myriad phenomena occasioned by consciousness," in the words of the eleventh-century art historian Kuo Jo-hsü. The older figure and narrative traditions remain vital for a time, during the period of the Sung (960–1279) and Yüan (1279–1368) dynasties, then rapidly declined, becoming the concern only of journeymen artisans and court chroniclers.

From the tenth century to the end of the Manchu Ch'ing dynasty early in this century, the dominant concern of the Chinese painter has been the natural world of landscape, trees and rocks, birds and animals, flowers and bamboo— "the myriad phenomena occasioned by consciousness," in the words of the eleventh-century art historian Kuo Jo-hsü. The older figure and narrative traditions remain vital for a time, during the period of the Sung (960–1279) and Yüan (1279–1368) dynasties, then rapidly declined, becoming the concern only of journeymen artisans and court chroniclers. …