What Perspective Is Used In Chinese Landscape Painting?


Most of Chinese landscape painters use flattened perspective. As a result, when you look at a Chinese landscape painting, there is no certain point to guide u and you might feel confused when you first look at it. The lack of perspective gives viewers so much space to think and imagine.


Atmospheric (or aerial) perspective has been used for a very long time in both eastern and western art. It was used in Roman times in fresco paintings. The value transitions in atmospheric perspective were used in traditional Chinese painting, and by Renaissance painters such as Leonardo da Vinci.

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Study of Perspective in Chinese Landscape paintings

Frequently Asked Questions

How can you describe landscape painting of China?

Chinese artists do not usually paint real places but imaginary, idealized landscapes. ... Chinese painting in general is seen as an extension of calligraphy and uses the same brushstrokes. The colors are restrained and subtle and the paintings are usually created in ink on paper, with a small amount of watercolor.

What is Chinese perspective?

The other solution is the one that seems to have been generally adopted, and is known as “Chinese perspective”, which is to use a form of perspective that avoids vanishing points by showing the receding lines as parallel obliques.

What are the three concepts in Chinese landscape painting?

The Meaning and Elements of the Chinese Landscape Painting. In shan shui paintings, there are three basic elements that make up a painting: Mountains, rivers, and on occasion, waterfalls. Hence the Chinese name shan shui ("Mountain-water") for landscape art!

What does it mean to paint landscape in China?

The Chinese term for “landscape” is made up of two characters meaning “mountains and water.” It is linked with the philosophy of Daoism, which emphasizes harmony with the natural world. Chinese artists do not usually paint real places but imaginary, idealized landscapes. The Chinese phrase woyou expresses this idea of “wandering while lying down.”

Is there any perspective in a Chinese painting?

This essay was first published in 1927 in The China Journal Vol. VII, No. 2, pp 69-72. The most general criticism aimed at Chinese paintings by Westerners seems to be concerned with the representation of distance, and very often takes the form: Chinese paintings have no perspective.

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