Palace Museum in the context of "Forbidden City"

Chinese art is visual art that originated in or is practiced in China, Greater China or by Chinese artists. Art created by Chinese residing outside of China can also be considered a part of Chinese art when it is based on or draws on Chinese culture, heritage, and history. Early "Stone Age art" dates back to 10,000 BC, mostly consisting of simple pottery and sculptures. After that period, Chinese art, like Chinese history, was typically classified by the succession of ruling dynasties of Chinese emperors, most of which lasted several hundred years. The Palace Museum in Beijing and the National Palace Museum in Taipei contains extensive collections of Chinese art.

Chinese art is marked by an unusual degree of continuity within, and consciousness of, tradition, lacking an equivalent to the Western collapse and gradual recovery of Western classical styles of art. Decorative arts are extremely important in Chinese art, and much of the finest work was produced in large workshops or factories by essentially unknown artists, especially in Chinese ceramics.

Ten Thousand Nations Coming to Pay Tribute (Chinese: 萬國來朝圖; pinyin: Wànguó láicháo tú, 1761) is a monumental (299x207cm) Qing dynasty painting depicting foreign delegations visiting the Qianlong Emperor in the Forbidden city in Beijing during the late 1750s.

The painting was intended to show the cosmopolitanism and the centrality of the Qing Empire, since most countries of Asia and Europe are shown paying their respects to the Chinese Emperor. China already had a long tradition of such paintings (designated as "Portraits of Periodical Offering"), starting from around the 6th century CE, but such paintings ended around the time of the Opium War, which shattered the ideal of the Great Chinese Empire in the middle of the world, and gave way to the awareness of China as simply one country among others. The principle was one of more-or-less voluntary submission, with presents being periodically brought to the Chinese Emperor as a symbolic gesture of acknowledgement of Chinese overlordship. According to Ming period writings "The Emperor resides in the center and holds the reins of all other nations and all things under the sun".

Court Ladies Preparing Newly Woven Silk is a silk painting attributed to Emperor Huizong of the Song dynasty. It is the only surviving copy of a lost original Court Ladies Preparing Newly Woven Silk by the Chinese artist Zhang Xuan. The painting depicts an annual imperial ceremony of silk production, held in spring. It shows three groups of Tang dynasty court ladies at work. Viewing from left, one figure sitting on the ground is preparing a thread and the other is sewing while sitting on a stool. The right group of four ladies are pounding the silk with wooden poles. The group stretching and ironing the silk and the right group which is pounding the silk with wooden poles are depicted in a diamond-shaped formation to produce the feeling of a three-dimensional space.

Originally kept in the Palace Museum in Beijing, the painting was acquired by the Boston Museum of Fine Arts in August 1912.