Chinese painting in the context of "Admonitions Scroll"

A Chinese writing brush (traditional Chinese: 毛筆; simplified Chinese: 毛笔; pinyin: máo bǐ) is a paintbrush used as a writing tool in Chinese calligraphy as well as in Japanese, Korean, and Vietnamese which all have roots in Chinese calligraphy. They are also used in Chinese painting and other brush painting styles. The ink brush was invented in China around 300 B.C. Together with the inkstone, inkstick and Xuan paper, these four writing implements form the Four Treasures of the Study.

Japanese painting (絵画; kaiga; also gadō 画道) is one of the oldest and most highly refined of the Japanese visual arts, encompassing a wide variety of genres and styles. As with the history of Japanese arts in general, the long history of Japanese painting exhibits synthesis and competition between native Japanese aesthetics and the adaptation of imported ideas, mainly from Chinese painting, which was especially influential at a number of points; significant Western influence only comes from the 19th century onwards, beginning at the same time as Japanese art was influencing that of the West.

Areas of subject matter where Chinese influence has been repeatedly significant include Buddhist religious painting, ink-wash painting of landscapes in the Chinese literati painting tradition, calligraphy of sinograms, and the painting of animals and plants, especially birds and flowers. However, distinctively Japanese traditions have developed in all these fields. The subject matter that is widely regarded as most characteristic of Japanese painting, and later printmaking, is the depiction of scenes from everyday life and narrative scenes that are often crowded with figures and detail. This tradition no doubt began in the early medieval period under Chinese influence that is now beyond tracing except in the most general terms, but from the period of the earliest surviving works had developed into a specifically Japanese tradition that lasted until the modern period.

The production of silk originated in Neolithic China within the Yangshao culture (4th millennium BCE). Though it would later reach other places in the world, the art of silk production remained confined to China until the Silk Road opened at 114 BC. Even after trade opened, China maintained a virtual monopoly over silk production for another thousand years. The use of silk within China was not confined to clothing alone, and silk was used for a number of applications, such as writing. Within clothing, the color of silk worn also held social importance, and formed an important guide of social class during the Tang dynasty of China.

Silk cultivation had reached Japan by 300 AD, and by 552 AD the Byzantine Empire managed to obtain silkworm eggs and were able to begin silkworm cultivation while the Arabs also started to manufacture silk at around the same time. As a result of the spread of sericulture, Chinese silk exports became less important, although they still maintained dominance over the luxury silk market. The Crusades brought silk production to Western Europe, in particular to many Italian states, which saw an economic boom exporting silk to the rest of Europe. Developments in the manufacturing technique also started to take place during the Middle Ages (5th to 15th centuries) in Europe, with devices such as the spinning wheel first appearing at this time. During the 16th century, France joined Italy in developing a successful silk trade, although the efforts of most other nations to develop a silk industry of their own were unsuccessful.

Shuilu ritual paintings (Chinese: 水陸畫; pinyin: Shuǐlù huà; lit: "Paintings of Water and Land") are a style of traditional Chinese painting based on Buddhist and Taoist divinities that are used during the eponymous Chinese Buddhist Shuilu Fahui ceremony where these figures are invoked. The paintings are mainly intricate portraits of deities, historical figures, and the contrasting lives of common people and tragedies, in an ornate style with rich use of vivid colors and patterns. The paintings can encompass a wide range of mediums, including scroll-painting, murals, and even sculptures.

Despite their often mythological subject matter, the parts of the Shuilu ritual paintings that are dedicated to commoners show a realistic, often downtrodden and tragic view of their everyday lives, as part of the ritual to reflect on the suffering of the deceased. The paintings preserve the intricacies of their respective eras' fashions and give a greater view of their cultural and spiritual landscape. The visual similarities in the portraits between the divine figures and traditional Chinese opera costumes also illuminate the mutual inspiration between the two art forms.

Emperor Huizong of Song (7 June 1082 – 4 June 1135), personal name Zhao Ji, was the eighth emperor of the Song dynasty of China and the penultimate emperor of the Northern Song dynasty. He was also a very well-known painter, poet and calligrapher. Born as the 11th son of Emperor Shenzong, he ascended the throne in 1100 upon the death of his elder brother and predecessor, Emperor Zhezong, because Emperor Zhezong's only son died prematurely. He lived in luxury, sophistication and art in the first half of his life. In 1126, when the Jurchen-led Jin dynasty invaded the Song dynasty during the Jin–Song Wars, Emperor Huizong abdicated and passed on his throne to his eldest son, Zhao Huan while Huizong assumed the honorary title of Taishang Huang (or "Retired Emperor"). The following year, the Song capital, Bianjing, was conquered by Jin forces in an event historically known as the Jingkang Incident. Emperor Huizong and Emperor Qinzong and the rest of their family were taken captive by the Jurchens and brought back to the Jin capital, Huining Prefecture in 1128. The Emperor Taizong of Jin, gave the former Emperor Huizong a title, Duke Hunde (literally "Besotted Duke"), to humiliate him. After Zhao Gou, the only surviving son of Huizong to avoid capture by the Jin, declared himself as the dynasty's tenth emperor as Emperor Gaozong, the Jurchens used Huizong, Qinzong, and other imperial family members to put pressure on Gaozong and his court to surrender. Emperor Huizong died in Wuguocheng after spending about nine years in captivity. He, along with his successors, were blamed for the Song dynasty's decline.

Although he wasn't a competent administrator, Emperor Huizong was known for his promotion of Taoism and talents in poetry, painting, calligraphy and music. He sponsored numerous artists at his imperial court, and the catalogue of his collection listed over 6,000 known paintings.

West Lake, also known as Xihu and by other names, is a freshwater lake in Hangzhou, China. Situated to the west of Hangzhou's former walled city, the lake has a surface area of 6.39 km (2.47 sq mi), stretching 3.2 km (2.0 mi) from north to south and 2.8 km (1.7 mi) from east to west. In the lake are four causeways, three artificial islands, and Gushan, the only natural island. Gentle hills surround the lake on its north, west, and south sides, with the Leifeng and Baochu pagodas standing in pair on the south and north banks. Several famous temples are nestled in the mountains west of the lake, including Lingyin and Jingci Temples.

A tourist attraction since the Tang dynasty (618–907), the lake has influenced poets and painters throughout Chinese history for its natural beauty and historic relics. By the Song dynasty (960–1279), during which the dynastic capital moved to Hangzhou, it had become a cultural landmark and one of the most visited tourist destinations of China. Introduced to Europeans by Marco Polo, the lake was once a symbol of Chinese urban culture. It has been featured on Chinese currency, including the one-yuan banknote in the 1979 Bank of China Foreign Exchange Certificate and the 2005 Renminbi, as well as in the Chinese passport. A UNESCO World Heritage Site since 2011, the lake is recognised to have influenced garden designs in China, Japan, and Korea over the centuries as "an idealised fusion between humans and nature."

The Chinese garden is a landscape garden style which has evolved over three thousand years. It includes both the vast gardens of the Chinese emperors and members of the imperial family, built for pleasure and to impress, and the more intimate gardens created by scholars, poets, former government officials, soldiers and merchants, made for reflection and escape from the outside world. They create an idealized miniature landscape, which is meant to express the harmony that should exist between man and nature.

The art of Chinese garden integrates architecture, calligraphy and painting, sculpture, literature, gardening and other arts. It is a model of Chinese aesthetics, reflecting the profound philosophical thinking and pursuit of life of the Chinese people. Among them, Chengde Mountain Resort and the Summer Palace, which belong to royal gardens, and several of the Classical Gardens of Suzhou in Jiangsu Province, which belong to private gardens, are also included in the World Heritage List by UNESCO. Many essential elements are used in Chinese gardens, and Moon Gate is one of them.