# data[].attributes.headline
Williams, Brain. Ancient China. New York: Viking, 1996

# data[].attributes.subject
Williams, Brain. Ancient China. New York: Viking, 1996

# data[].attributes.body
1998

# data[].attributes.body
these portrayed hunting and harvesting, the local salt-mining industry, and other subjects.

# data[].attributes.body
from mineral sources (blue from azurite, green from malachite, red from cinnabar or lead, yellow from orpiment or ochre, all produced in various intensities) are preferred for painting on silk, while translucent vegetable pigments predominate in painting on paper (indigo blue, red from safflower or madder, vegetable green, rattan and Sephora yellow) and produce a lighter, more delicate effect.

# data[].attributes.body
demands confidence, speed, and a mastery of technique acquired only by long practice.

# data[].attributes.body
In painting, color is added, if at all, to make the effect more true to life or to add decorative accent and rarely as a structural element in the design, as in Western art.

# data[].attributes.body
He paints on a length of silk or a sheet of paper, the surface of which is absorbent, allowing no erasure or correction.

# data[].attributes.body
ink, formed into a short stick of hardened pine soot and glue, which is rubbed to the required consistency on an inkstone with a little water.

# data[].attributes.body
The painter uses a pointed-tipped brush made of the hair of goats, deer, or wolves set in a shaft of bamboo.

# data[].attributes.body
Calligraphers would practice for years to learn to write perfectly, but with style, pottery, Painting and calligraphers.

# data[].attributes.body
The Chinese painter uses the same materials as the calligrapher—brush, ink, and silk or paper—and the Chinese judge his work by the same criteria they use for the calligrapher, basically the vitality and expressiveness of the brushstroke itself and the harmonious rhythm of the whole composition.

# data[].attributes.body
3rd century , calligraphy, or writing as a fine art,

# data[].attributes.body
the outstanding characteristics of Chinese art is, which it reflects the class structure that has existed at different times in Chinese history.

# data[].attributes.body
it is quite a legitimate think of the history of Chinese painting primarily in terms of the styles of successive dynasties, which Chinese themselves do.

# data[].attributes.body
Both the political fragmentation and social and economic chaos of decline and the vigor of dynastic rejuvenation could stimulate and color important artistic developments.

# data[].attributes.body
a common belief in the power of heaven and the ancestral spirits to influence the living, and a common emphasis on the importance of ceremony and sacrifice to achieve harmony among heaven, nature, and humankind. These beliefs were to have a great influence on the character of Chinese painting, and indeed all the arts of China.

# data[].attributes.body
They drew all about religious stories.

# data[].attributes.body
Painting was based on harmony and simplicity.

# data[].attributes.body
The art was very important to the Chinese painters.

# data[].attributes.body
Chinese were also skilled calligraphy delicate handwriting and using a fine-tipped brush and ink.

# data[].attributes.body
A Chinese later invented painting on paper.

# data[].attributes.body
From the 400s B.C., Chinese painters made exquisite pictures on silk