| Editor’s Page | 5 |
| Hsio-yen Shih | Poetry Illustration and the Works of Ku K’ai-chih | 6 |
| Richard Edwards | The Artist and the Landscape—Changing Views of Nature in Chinese Painting | 30 |
| Chih Kung | A Brief Note on the Lacquer Screen Painting of Northern Wei
Translated by Mayching Kao | 53 |
| Hin-cheung Lovell | A Question of Choice, A Matter of Rendition | 63 |
| Wang Fang-yu | Chu Ta’s “Shih Shuo Hsin Yü” Poems
Translated by Aileen Huang Wei and Wang Fang-yu | 70 |
| Jonathan Chaves | Some Relationships Between Poetry and Painting in China | 85 |
| Wang Wei | From the Chinese of Wang Wei
Translated by Albert Faurot | 92 |
| Diana Yu | The Printer Emulates the Painter—the Unique Chinese Water-and-ink Woodblock Print | 95 |
| J. W. | Peasant Paintings from Hu-hsien | 102 |
| Yu Fei-an | The Use of Colour in Chinese Folk Art
Translated by D. Y. | 106 |
| Ellen Johnston Laing | Biographical Notes on Three Seventeenth Century Chinese Painters | 107 |
| Chu-tsing Li | Problems Concerning the Life of Wang Mien, Painter of Plum Blossoms | 111 |
| Laurence C. S. Tam | Plant Paintings of Two Yang-chou Masters | 125 |
| Jao Tsung-i | Painting and the Literati in the Late Ming
Translated by James C. Y. Watt | 138 |
| Thomas Lawton | Notes on Keng Chao-chung | 144 |
| Hsiang Ta | European Influences on Chinese Art in the Later Ming and Early Ch’ing Period
Translated by Wang Teh-chao | 152 |
| Nelson I. Wu | The Chinese Pictorial Art, Its Format and Program: Some Universalities, Particularities and Modern Experimentations | 179 |
| Notes on Contributors | 204 |
| Chinese Texts | 207 |
