11 Translator’s Preface to the English Version
19 Foreword to the First Chinese Edition
25 Preface to the Revised Edition
29 Preface to the English Version
33 Preface to the Chinese Version
39 Introduction
Chapter 1
59 WESTERN INFLUENCE AFTER THE OPIUM WAR
61 Background: Developments in the Late Ming and Subsequent Years
64 China Trade Painting
66 Influence of Western Painter
79 Shanghai School
90 Dianshi Studio Illustrated
93 Painting Societies
96 The Implications of the Shanghai School
98 Tushanwan and Its Influenc
108 Early Overseas Students
Chapter 2
117 FINE ARTS REVOLUTION
119Cai Yuanpei’s Thinking on Art
124 The Emergence of ‘Fine Arts’
127 Chen Duxiu
130 Unfolding Ideas on Fine Arts
Chapter 3
133 THE INTELLECTUAL BACKGROUND AND EMERGENCE OF CHINESE-STYLE PAINTING
135The Background of Chinese-Style Painting (Zhongguo-hua)
138 Fine Arts Historiography and Japanese Influence
139 Traditionalists
141 Chen Shizeng
146 Problems
148 The Intellectual Climate as Background
Chapter 4
155 GUOHUA AND NEW GUOHUA: ART IN THE EXCHANGE OF CIVILIZATIONS
158 Huang Binhong
165 Qi Baishi
172 Zhang Daqian
180 Other Traditionalist Painters
187 Traditionalist Thought, Politics, and Related Ideology
195 New Guohua Painting: The Lingnan School
197 Gao Jianfu
204 Chen Shuren
207 Fang Rending
Chapter 5
215 SCHOOLS AND SOCIETIES
217 Antecedents of Art Education
219 Schools
228 Associations
Chapter 6
235 REALISM, CONTROVERSIES, AND PAINTERS
237 The 1929 National Art Exhibition
240 Xu Beihong
250 Painters
260 Sculptor
262 The Issue of Realism
Chapter 7
263 MODERNIST ART, INTELLECTUAL TRENDS, AND ENCOUNTERS
265 A Poet’s Perspective
266 Liu Haisu
276 Yan Wenliang
281 Modernist Painters
286 Painters Studying in Japan
293 Taiwanese Painters Studying in Japan
302 Pang Xunqin and the Storm Society
306 Storm Society Members
310 China Independent Art Association
312 Ideological Trends and Artists
315 Lin Fengmian
325 The Decline of Modernism
Chapter 8
331 LEFT-WING FINE ARTS: MODERNISM’S POLITICAL ORIENTATION
333 Groupst—the Woodcut Study Society and the Left-Wing League of Artists
342 Lu Xun’s Work
344 Woodcut Groups
Chapter 9
355 THE ART AND IDEOLOGY OF YAN’AN
357 The Art of Yan’an
381 Talks at the Yan’an Forum on Literature and Art
Chapter 10
393 ART IN KMT-RULED AREAS
395 Cartoons and Cartoonists
402 The Third Department and the New Woodcut Organizations
406 Disputes about National Forms and the Transition in Wartime
409 Painters and Sculptors
414 Painters in the Praxis of National Forms
425 Other Painters
429 Art of the Civil War Period
Chapter 11
447 1949-1958: ART IN THE PERIOD OF SOCIAL RECOVERY AND CONSTRUCTION
449 The General Situation
452 New Pictures for the New Year (New Nianhua)
460 Contamination by Politics
474 The Fine Arts Movements of the Worker-Peasant-Soldier Masses
481 Picture-Story Book Illustrations (Lianhuanhua)
483 Woodblock Prints
Chapter 12
493 THE INFLUENCE OF SOVIET SOCIALIST REALISM AND THE TRANSITION TO THE ‘TWO-IN-ONE COMBINATION’
495 Issues and Concepts
497 The Soviet Background
500 Learning from the Soviet Union
505 Maksimov’s Classes
510 The Transition to the Two-in-One Combination
517 Painting on CPC History
539 Sculpture
Chapter 13
545 THE TRANSFORMATION OF GUAHUA AND PAINTERS IN THE TRADITIONAL CHINESE STYLE
547 Crisis and Transformation
560 The Path of Transformation
573 Fu Baoshi
582 Qian Songyan
585 Guan Shanyue
591 Li Keran
599 Shi Lu
605 Pan Tianshou
Chapter 14
615 CLASS STRUGGLE AND THE ART OF THE CULTURAL REVOLUTION PERIOD
617The Move towards ‘Cultural Revolution’ Art: 1959-1965
631 The Art of the Cultural Revolution Period: 1966-1976
Chapter 15
689 THE CONTINUING ADVANCE OF MODERNISM: 1950-1979
691 The Taiwan Background
696 The Fifth Moon Group
699 Liu Kuo-sung (Liu Guosong)
707 The Oriental Painting Society
712 The Situation of Modernism
714 The Art of Taiwan in the 1970s
719 The Background of Hong Kong
721 Lui Show Kwan (Lü Shoukun)
722 Wucius Wong (Wang Wuxie)
725 Art and Artists
727 Luis Chan (Chen Fushan)
730 Sculptors
Chapter 16
731 SCAR ART AND THE LIFE-STREAM
733 The Post-1976 Political Background and the Beginnings of Scar Art
741 Sichuan Scar Paintings and Painters
752 The Life-Stream and Chen Danqing
Chapter 17
761 THE REVOLUTION IN FORM, THE STARS INCIDENT AND MODERNISM
763 The Revolution in Form
770 ‘The Stars’ Art Exhibition
783 Modernist Painting and Concepts
789 The Discussion of Modernism
Chapter 18
793 THE ‘85 IDEOLOGICAL TREND AND THE PHENOMENON OF ART GROUPS
795 The Progressive Chinese Youth Art Exhibition
800 The Debate about Chinese-style Painting
802 The ’85 Art Phenomenon
805 The ’85 Ideological Trends in Philosophy
808 Groups
Chapter 19
833 IMPORTANT GROUPS AND ARTISTS
835 The Northern Art Group and Its Artists
842 New Figurative Art and the Art Groups of the Southwest
848 Mao Xuhui
852 Jiangsu Youth Art Week: Large-Scale Modern Art Exhibition and the Participating Artists
861 The ’85 New Space and Its Artists
870 Zhang Peili
875 Xiamen Dada
881 Gu Wenda
885 Wu Shanzhuan
Chapter 20
889 THE ORIGINS OF THE ‘GRAND SOUL’ AND THE BIRTH OF THE ‘FREE’ ARTIST
891 The Question of ‘Purified Language’
896 The Condition of the Zeitgeist and the ‘Grand Soul’
900 Xu Bing
902 China/Avant-Garde: China Modern Art Exhibition
912 The Vagabond Artists
916 Yuanmingyuan Artists Village
Chapter 21
919 NEW ART AND ARTISTS
921 Background
924 Neo-Academic Art and Exhibition
928 The New Generation and the New Generation Painters
935 Liu Xiaodong
941 Cynical Realism and Painters
953 Fang Lijun
958 Political Pop and Artists
970 Wang Guangyi
974 Gaudy Art
984 Zhang Xiaogang
Chapter 22
991 THE BEGINNINGS OF THE MARKET AND THE SHIFT TO INTERNATIONAL STANDARDS
993 Ideology and the Market Question
998 The Guangzhou Biennale
1007 Post-89 Chinese New Art
Chapter 23
1015 NEW LITERATI PAINTING AND EXPERIMENTAL INK AND WASH
1017 New Literati Painting
1026 Experimental Ink and Wash
Chapter 24
1037 ART WITHIN PLURALIST STRUCTURES
1039 Conceptual Art and its Derivatives
1062 Video Art
1066 Conceptual Photography
1080 Artists Questions of Women and Women Artists
1097 The Expansion of New Painting
1110 Zhou Chunya
Chapter 25
1115 THE ART OF THE NEW CENTURY
1117 The Shanghai Biennale and the Decline of the System
1124 ‘Perceptual’ Subversion
1130 798 as a Symbol
1136 Exhibition and Contemporary Art
1161 Markets, Capital, and Change against the Background of Globalization
1175 APPENDIX
1176 End notes
1229 Bibliography
1242 List of Illustrations
1267 Index