Image Credits

A Thousand Cliffs Contend in Splendor. Holding Institution: National Palace Museum, Taipei. Image courtesy of China Online Museum / Wikimedia Commons. Public Domain.

East Garden. Holding Institution: The Palace Museum, Beijing, China. Image courtesy of Wikimedia Commons. Public Domain.

Jade Cave Fairy Land. Holding Institution: The Palace Museum, Beijing, China. Image courtesy of Wikimedia Commons. Public Domain.

Journey to Shu; Long. Holding Institution: The Smithsonian’s National Museum of Asian Art. Image courtesy of Freer Gallery of Art and Arthur M. Sackler Gallery / Wikimedia Commons. Public Domain.

Landscape with Mountain Village. Holding Institution: Harvard Art Museums, Massachusetts, United States of America. Image courtesy of Harvard Art Museums / Wikimedia Commons. Public Domain.

Lofty Mountain Lu by Shen Zhou, Yuan dynasty (1467). Holding Institution: National Palace Museum, Taipei. Image courtesy of Wikimedia Commons. Public Domain.

Paintings After Ancient Masters: Autumn Landscape by Chen Hongshou, Late Ming/Early Qing dynasty (1598-1652) Holding Institution: Cleavland Museum of Art, Cleavland, United States of America. Image courtesy of Cleavland Museum of Art / Wikimedia Commons. Public Domain.

Saying Farewell at Xunyang. Holding Institution: The Nelson-Atkins Museum of Art, Kansas City, United States. Image courtesy of Google Cultural Institute / Wikimedia Commons. Public Domain.

Streams and Mountains Without End, Anonymous, Song dynasty (1100). Holding Institution: Cleavland Museum of Art, Cleavland, United States of America. Image courtesy of Cleavland Museum of Art / Wikimedia Commons. Public Domain.

The Emperor Guangwu Fording a River. Holding Institution: National Gallery of Canada, Ottawa, Canada. Image courtesy of National Gallery of Canada / Wikimedia Commons. Public Domain.

Works Cited

Chen, Chih-Mai. Chinese Landscape-Painting: The Golden Age. Canberra: Australian National University, 1961.

Clunas, Craig. “Beginning and Ending.” In Chinese Painting and Its Audiences, 5-36. First edition. Princeton, New Jersey: Princeton University Press, 2016. https://doi.org/10.1515/9780691253022.

Clunas, Craig. “The Gentleman.” In Chinese Painting and Its Audiences, 37-84. First edition. Princeton, New Jersey: Princeton University Press, 2016. https://doi.org/10.1515/9780691253022.

Lee, Sherman E. “Literati and Professionals: Four Ming Painters,” The Bulletin of the Cleveland Museum of Art 53, no. 1 (1966): 2-25. https://www.jstor.org/stable/25152081

Sullivan, Mark. “The Gift of Distance: Chinese Landscape Painting as a Source of Inspiration,” Southwest Review 92, no. 3 (2007): 407-419. https://www.jstor.org/stable/43472830