Chinese painting originates from the prehistoric rock paintings and drawings on potteries in the Stone Age. Painting increasingly gained its own artistic significance and becomes an independent medium of artistic expression, leading to the emergence of the traditional Chinese painting. The artists use specially made brushes, ink, paper, inkstones, and silk as the main tools. This art form employs variations of lines and ink tones, using techniques such as outlining, texturing, dotting, and shading to depict objects and compose scenes.

Chinese painting mainly depicts figures, landscapes, flowers and birds. As early as the Warring States period (475-221 BCE), the figure painting had emerged and achieved maturity by the Wei, Jin, the Northern and Southern Dynasties period (220-589), flourishing in the Tang dynasty (618-907). The landscape painting, once serving only as background, gradually broke free from its subordinate status to figure painting in the Sui dynasty (581-618) and thrived in the Tang and Song dynasties (618-1279). By the Five Dynasties and Ten Kingdoms period (907-979), the flower-and-bird painting had evolved into a major genre with different styles and schools. In terms of artistic techniques, Chinese painting has created several exemplary patterns of approach, including gongbi (meticulous brushwork), baimiao (outline drawing), qinglü (blue and green), shuimo (ink wash), pomo (splash ink), and mogu (boneless).

Since the Song and Yuan dynasties (960-1368), the literati painting emerged and rose to prominence. This genre emphasizes expressing the artist's subjective emotions and aspirations through symbolic techniques, and the artists' cultivation in calligraphy and literary skills. These literati painters pursued self-expression and the spiritual essence in paintings. In the Ming and Qing dynasties (1368-1911), the two major artistic trends, namely imitation of the archaic styles and innovation, predominated and led a diverse and multi-faceted development. The integration of poetry, calligraphy, paintings, and seals came into fashion, actively practiced by various schools. Since the late Qing dynasty, the Shanghai School painting pioneered in modernizing Chinese painting. The Lingnan School and the Beijing-Tianjin School also emerged and contributed to the establishment of modern Chinese paintings.

Chinese painting entered a new phase in the Tang dynasty. Figure painting obtained remarkable achievements, encompassing a wide range of subjects such as figures riding horses, court ladies, portraits, and religious scenes. Landscape painting evolved into two styles: blue-and-green and ink-wash. Techniques of flower-and-bird painting tended to mature, with the popularity of oxen and horses as main subjects.

In the Five Dynasties and Ten Kingdoms period, Chinese painting inherited the legacy of the Tang dynasty while laying the groundwork for innovations of the Song dynasty. The emergence of the two styles in this era marked an important shift in the history of landscape painting: the Northern Landscape School represented by Jing Hao and Guang Gong, alongside the Southern Landscape School represented by Dong Yuan and Ju Ran. Flower-and-bird painting was led by two stylistic schools that embodied distinct aesthetic tastes: the so-called "luxurious" style of Huang Quan featuring realistic and colourful depiction, and the unrestrained style of Xu Xi known as "wild elegance".

In the Northern and Southern Song dynasties, the court painting academy became prominent. Figure paintings and genre paintings were highly developed. The paintings of the Northern Song court aimed to be detailed and naturalistic. Since the Southern Song dynasty, landscape painting evolved towards a more simplified, bold and unconstrained style.

The Yuan dynasty marked an important transition in the Chinese painting history, characterized by the rise of literati painting. Baimiao (outline drawing) figure painting, flower-and-bird painting, and jiehua (paintings depicting architectures) were all further developed.

Early Yuan literati painters, represented by Qian Xuan and Zhao Mengfu, advocated for reviving the traditions from the Tang dynasty, the Five Dynasties and Ten Kingdoms period, and the Northern Song dynasty. They integrated calligraphic brushstrokes into painting. Thus, the Yuan painting trend that prioritized spiritual essence over forms was developed, profoundly influencing the development of literati painting in the Ming and Qing dynasties.

The literati xieyi (freehand or expressive) painting, emphasizing expressing personal emotions and aspirations, dominated the field of painting in the mid-to-late Yuan period. Literati artists combined poetry, calligraphy and painting. The frequent themes included landscapes reflecting reclusive thought, ink flower-and-bird, and the four natural subjects—plum blossoms, orchids, bamboo and rocks—symbolizing noble characters. Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng, revered as the "Four Masters of Yuan", shaped the stylistic traits of the literati landscape paintings.

In the early Ming dynasty, the court painting and the Zhejiang School dominated the art scene. The Ming court painting inherited the realistic and colourful approach of the Song court painting. The Zhejiang School master Dai Jin inspired Wu Wei to establish the Jiangxia School. Signified by powerful brushstrokes, their style was broadly influential.

In the mid-Ming dynasty, the prosperous economy and culture in Suzhou led to the emergence of the Wu School. First led by Shen Zhou and later by Wen Zhengming, the Wu School revisited the traditions of the Yuan dynasty literati paintings, mainly depicting the literati's daily life and the landscapes of Jiangnan (regions southeast of the Yangtze River). This regional school dominated the realm of painting for over a century. Shen Zhou, Wen Zhengming, together with Tang Yin and Qiu Ying who both excelled in painting, were collectively known as the "Four Masters of the Wu School". In the field of flower-and-bird painting, Chen Chun (Baiyang) and Xu Wei (Qingteng) initiated a new trend of bold freehand brushwork, commanding significant influence on future generations.

In the late Ming dynasty, the Songjiang School gained its reputation after the Wu School in the realm of landscape painting. The Songjiang School was consisted of the Huating School represented by Dong Qichang, the Susong School headed by Zhao Zuo, and the Yunjian School led by Shen Shichong, among which Dong Qichang was the most influential figure. His painting emphasized the charm of brushworks and illustrated a style of archaic, robust, and serene elegance. During this period, many other regional schools emerged, such as the Wulin School represented by Lan Ying, and the Jiaxing School represented by Xiang Shengmo.

A number of figure painting artists with unique styles became renowned in the late Mng dynasty, among which Ding Yunpeng, You Qiu, and Wu Bin were the most famous. Zeng Jing, famous for his portraits, developed a new style that emphasized "ink bones" and shading. This distinctive approach to painting attracted many followers, leading to the formation of the Bochen School. Chen Hongshou, with his archaic and eccentric style, rose to prominence alongside Cui Zizhong, whose works followed ancient traditions. The two were known as "Chen of the South and Cui of the North".

In the early Qing dynasty, the school of "Four Wangs", represented by Wang Shimin, Wang Jian, Wang Hui, and Wang Yuanqi, was patronized by the royal court and eventually became the orthodox of Qing dynasty painting. Dong Qichang's style and art theory deeply influenced this group. They revered the archaism taste and Dong's ideal in the use of ink and composition of brushstrokes, leading a powerful movement of imitating ancient styles. Their influence continued throughout the Qing dynasty. Yun Shouping expanded the landscape of flower painting with the mogu (boneless) technique that brought a new dimension to this genre, which was referred to as xie sheng zheng pai (realistic school or drawing from nature).

In Jiangnan, a number of painters who remained loyal to the former dynasty painted with strong individualities, such as the "Four Monks" (Hongren, Kuncan, Zhu Da, and Shitao), Mei Qing of the Huangshan School, Zha Shibiao of the Xin'an School, and Gong Xian, one of the "Eight Masters of Jinling". These artists valued learning from nature, rejecting rigid conventions, and conveying personal characteristics in their paintings. Therefore, their works were imbued with stronger and richer emotions, with innovative and distinctive styles.

In the mid-Qing dynasty, the court painting academy prospered from the Kangxi reign to the Qianlong reign. The "Four Wangs" deeply influenced the landscape painting of the court. The flower-and-bird painting in this period featured the realistic approach and Yun Shouping's "boneless" technique. In addition, the court also recruited western missionary painters such as Giuseppe Castiglione (an Italian missionary, known as Lang Shining in Chinese), resulting in the combination of Chinese and Western styles as a hallmark of the Qing court painting.

In this period, Yangzhou, a thriving commercial hub, attracted a group of disillusioned literati who made a living by painting and well-educated professional painters. They used their works to express personal emotions and aspirations, characterized by eccentric forms of depicted figures, strong individualities, and freedom in brushstrokes, leading a bold and new artistic movement known as the "Yangzhou School".  The most renowned painters included Jin Nong, Zheng Xie, and Luo Pin, who were famous for depicting the "Four Gentlemen" (plum blossoms, orchids, bamboos, and chrysanthemums) with xieyi (expressive) method that pursued aesthetic appeal in brushworks. Their works deeply influenced the modern flower-and-bird paintings.

In the late Qing dynasty, the "Four Wangs" style landscape painting and the Yun School bird-and-flower painting gradually declined, as most paintings ingratiated viewers with kitsch styles. The Jingjiang School of landscape painting represented by Zhang Jin, and the Ju School of flower-and-bird painting led by Ju Chao and Ju Lian, introduced new ideas, but they failed to re-energize the art scene.

The coastal cities such as Shanghai and Guangzhou became the centres of economy, industry, and commerce. Painters from all over the country gathered in these cities and formed artist groups with similar creative concepts. The Shanghai School, mainly active in Shanghai, emerged as a new force, with notable artists such as Xugu, Zhao Zhiqian, Ren Yi, and Wu Changshuo. They met the aesthetical taste of the emerging civil class in Shanghai. These artists combined the tradition of the Yangzhou School with the calligraphic brushstrokes of the ancient inscriptions on steles and bronzes. They created with an innovative and elegant style of painting that resonated with a broad audience.

In the early 20^th century, influenced by the movement of promoting Chinese traditional culture, the artists aimed to revitalize Chinese paintings, infusing new possibilities into their works. Notable artists, such as Qi Baishi, Huang Binhong, and Pan Tianshou, rooted their works in the Chinese painting tradition while pioneering innovative techniques. Their works responded to the tastes of their contemporaries. Other artists, including Gao Jianfu, Xu Beihong, and Lin Fengmian, incorporated Western painting techniques into their work, creating a new style that blended Chinese and Western styles and bridged the past and the present.

Since the founding of the People's Republic of China, socialist realism, revolutionary realism, and revolutionary romanticism became the mainstream genres. These works aimed to reflect modern life and serve the people. As society continues to evolve, the digital age brings new sensory experiences. The art scene of Chinese painting is gradually manifesting a new situation where an array of diversified schools and techniques coexist in harmony.

In the long history of Chinese painting and calligraphy, there are many extraordinary masterpieces of immense scale. These artworks overflow with the spirit of the artists' brushworks, manifested in colourful creations. These art works, remarkable for their grand scale and expansive presence, have become a source of spiritual solace for literati, allowing them to immerse themselves in literary artistry and wander in spirit within these majestic landscapes.

The Hall for Monumental Calligraphies and Paintings offers possibilities to showcase these large-scale paintings that are too big for regular vitrines. These masterpieces will be displayed on focused exhibitions to meet visitors.

Jiehua is a painting genre that allows painters to use rulers in depicting architecture with straight, precise lines. During the early Qing dynasty, Yuan Jiang and Yuan Yao gained fame for their exceptional achievements in jiehua. In Yangzhou Huafang Lu (Accounts of Yangzhou) written by Li Dou of the Qing dynasty, it is recorded: "Yuan Jiang, also known by his zi (designated name) Wentao, was a native of Jiangdu (present-day Yangzhou). He excelled in landscape and architectural paintings. Initially, he studied the style of Qiu Ying, but in his middle age, he came across an anonymous artist's copy of ancient paintings, which greatly advanced his skills." Base on the dates inscribed on Yuan Jiang's works, he lived from the early Kangxi reign (1662-1722) to the early Qianlong reign (1736-1796). Yuan Jiang started his painting career by first learning skills of the Ming dynasty painter Qiu Ying, but he owed his achievement to an unknown painter's copy of ancient paintings.

Yuan Jiang's painting style shows influence from the works of Song dynasty painters such as Guo Xi, Li Cheng, Ma Yuan, and Xia Gui. The genealogical relationship between Yuan Jiang and Yuan Yao still remains debated with three theories: father and son, uncle and nephew, and brothers. Analysis on extant historical records reveals that the father-son proposition is the earliest and most reliable. As professional painters, Yuan Jiang and Yuan Yao made a living by selling their paintings in regions such as Yangzhou and Shanxi. While their paintings of architecture included realistic elements, they primarily focused on decorative and imaginative images, often creating fantastical, otherworldly scenes.