Editing Chinese art (section)

==== Early Qing painting ====
The early Qing dynasty developed in two main strands: the Orthodox school, and the Individualist painters, both of which followed the theories of Dong Qichang, but emphasizing very different aspects.<ref>Capon and Pang, pg. 90, 91</ref> Court painting of the Qing dynasty was also greatly influenced by Western artists such as [[Jean Denis Attiret]] (1702–1768) and [[Giuseppe Castiglione (Jesuit painter)|Giuseppe Castiglione]] (1688–1766).<ref name="fuqiumeng" />

The "[[Four Wangs]]", including [[Wang Jian (17th-century painter)|Wang Jian]] (1598–1677) and [[Wang Shimin]] (1592–1680), were particularly renowned in the [[Six Masters of the early Qing period|Orthodox school]], and sought inspiration in recreating the past styles, especially the technical skills in brushstrokes and calligraphy of ancient masters. The younger [[Wang Yuanqi]] (1642–1715) ritualized the approach of engaging with and drawing inspiration from a work of an ancient master. His own works were often annotated with his theories of how his painting relates to the master's model.<ref>Capon and Pang, pg. 90</ref>

The Individualist painters included [[Bada Shanren]] (1626–1705) and [[Shitao]] (1641–1707). They drew more from the revolutionary ideas of transcending the tradition to achieve an original individualistic styles; in this way they were more faithfully following the way of Dong Qichang than the Orthodox school (who were his official direct followers.)<ref>Capon and Pang, pg. 91</ref>

Painters outside of the literati-scholar and aristocratic traditions also gained renown, with some artists creating paintings to sell for money. These included [[Ma Quan]] (late 17th–18th century), who depicted common flowers, birds, and insects that were not typical subject matter among scholars. Such painters were, however, not separated from formal schools of painting, but were usually well-versed in artistic styles and techniques. Ma Quan, for example, modelled her brushwork on Song dynasty examples.<ref name=zhao>{{citation|last=Zhao |first=Yanqing 赵燕青|title=浅议马荃的花鸟画风 |trans-title=Discussion of Ma Quan's bird and flower paintings style|language=zh|journal=Dazhong Wenyi (Lilun)|date=2009 | issue=3|page=44}}</ref> Simultaneously, the boneless technique ({{lang-zh|c=沒骨畫}}), thought to have originated as a preparatory step when painting gold-line images during the Tang, was continued by painters like [[Yun Shouping]] (1633–1690) and his descendant [[Yun Bing]].<ref name=briessen>{{citation |title=The Way of the Brush: Painting Techniques of China and Japan|last=van Briessen|first=Fritz|place=Vermont|publisher=Tuttle Publishing|date=1998|chapter=3}}</ref>

As the techniques of color printing were perfected, illustrated manuals on the art of painting began to be published. ''[[Jieziyuan Huazhuan]]'' (Manual of the Mustard Seed Garden), a five-volume work first published in 1679, has been in use as a technical textbook for artists and students ever since.

<gallery widths="200px" heights="200px">
File:Portraits of the Yongzheng Emperor Enjoying Himself during the 8th lunar month.jpg|''The [[Yongzheng Emperor]] Enjoying Himself During the 8th Lunar Month'', by anonymous court artists, 1723–1735 AD, [[Palace Museum]], Beijing, showing the use of [[linear perspective]].
File:MET DP153920.jpg|''Album Leaf'', [[Yun Bing]], 17th century, [[Metropolitan Museum of Art]], New York, showing the "boneless" technique.
File:K'un-ts'an 001.jpg|Chinese painting from 1664 by Qing dynasty painter [[Kun Can]]
</gallery>