Spiro, Audrey. "New Light on Gu Kaizhi." Journal of Chinese Religions 16, no. 1 (1988): 1-17.

The author of this article, Spiro examines in detailed about Gu Kaizhi and his work of painting especially how he interpreted and judged the portrayed. In a quick illustration of Gu Kaizhi's work, Spiro attempts to make it clear that Gu Kaizhi did unique work and had his perception about the portraiture. Over the years, the author of the article states that Gu Kaizhi did the portrait painting but could skip important appearing features such as not doting the eyes. Ku Kaizhi, however, did this deliberately with the belief that how ugly or beautiful the painted portrait appears does not in any way reflect the subtle part of the painting. The article reflects on how the Gu Kaizhi sheds new light on the best way to view and interpret paintings in that people should focus on the inner nature of the subject rather than facial expression.

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McCausland, Shane. "Nihonga meets Gu Kaizhi: A Japanese copy of Chinese painting in the British Museum." The Art Bulletin 87, no. 4 (2005): 688-713.

The author of this text, Shane McCausland has experience in the artwork having studied both Chinese Art and Japanese arts and cultures. The author, McCausland illustrates how Chinese art was introduced in the British Museum by Maeda Seison and Kobayashi Kokei, the two Japanese Nihonga Masters. The history of the reception of the Chinese art was achieved after the two copied the picture scroll attributed to Gu Kaizhi, the figural master. The copying of this Chinese masterpiece by Gu Kaizhi had a lot of impact on people in the way they use the art to view the politics of the world. It as well illustrates the influence of Chinese art by Gu Kaizhi on the Western painting techniques study in Europe

Fong, Mary H. "Images of women in traditional Chinese painting." Woman's Art Journal 17, no. 1 (1996): 22-27.

The author Fong for many years studied about the art of painting in specific reference to the history of painting in China. In this article, the author examines the creativity of the traditional Chinese arts and how they portrait women. In her view, the author believes that China artistic creativity was specific in gender and was inclusively occupied by men. Thus, all the images presented to represent women did not purport to represent the true meaning but instead was a magnification of the power owned by men. This captures the contribution of Gu Kaizhi in the world of painting that demarcated men from women. It illustrates how women were traditionally treated in comparison to the modern world.

Fong, Wen C. "Why Chinese painting is history." The Art Bulletin 85, no. 2 (2003): 258-280.

The author of this paper, Wen Fong taught Chinese art at Princeton University for years and later as a consultant in the Museum of Art. In this text, Fong examines in details about the history of the Chinese painting, in particular, comparing the artwork of various artists among them Gu Kaizhi. Specifically, Fong adequately dates and describes excellent work such as the Admonitions scroll attributed to Gu Kaizhi. The effort made by the author is to protect the various styles adopted by these artists in a bit to help understand the different visual language. This study is relevant especially in the postmodern world where there is a need to understand different visual language and the special meaning.

Gao, Jianping. "The Wheel of Fortune vs. the Mustard Seed: A Comparative Study of European and Chinese Painting." Diogenes 59, no. 1-2 (2012): 101-117.

The author of this Journal, Jianping Gao is a social scientist based in Beijing China. Jianping discusses how the ancient Chinese inspired the spontaneity of painters to ensure that their works kept improving. They used the acquired vocabularies to make new creations that were unique marking the essential step towards studying the Chinese Painting. By examining the two Chinese books, The Wheel of Fortune and the Mustard Seed, the author examines how Chinese art was later copied in Europe. The work of Gu Kaizhi forms part of the Chinese art that was copied in European. Hence the study helps to draw the line between European and Chinese arts.

Park, J. P. 2015. "The Anxiety of Influence: (Mis)Reading Chinese Art in Late Choson Korea (1700-1850)." Art Bulletin 97 (3): 301-22. doi:10.1080/00043079.2015.1009333.

This annotated article demonstrates the historical development of Chinese art and how influential it was to various artists who were inspired by the earlier paintings. The author of this article, J.P Park makes a specific reference to a farewell painting by Cho Yongsok to a friend Kim who was retiring and indicated a good place of residence. On studying this image used it was found that it portrayed an already existing scenario and this opened up the idea of painters like Gu Kaizhi who started making Chinese art by observing and portraying the existing template. The article is essential in explaining the influence of early work towards the expanded Chinese art field.

Tucker, John Allen. 2004. "Art, the Ethical Self, and Political Eremitism: Fujiwara Seika's Essay on Landscape Painting." Journal of Chinese Philosophy 31 (1): 47-63. doi:10.1111/j.1540-6253.2004.00142.x.

The journal by John Allen Tucker examines the ethical self and political eremitism of the Chinese painting. The focus of this text is on the interpretation of landscape painting that was contrasted by the Chinese landscapes. This involves examining the Chinese artists including Gu Kaizh who is considered the great philosopher who work of painting highly contributed to ethical self and the political perspective in the country. Gu Kaizh and other artists had an opportunity to make a social statement by drawing on the issues affecting society and later adopted. This article is essential in expressing the role played by the arts in shaping society.

Berezkin, Rostislav. 2016. "Illustrations of the Mulian Story and the Tradition of Narrative

Painting in China (Tenth-Fifteenth Centuries)." Religion & the Arts 20 (1/2): 5-28. doi:10.1163/15685292-02001002.

Rostislav Berezkin who is the author of the article taught Chinese art at Fudan University for several years. In this article, illustrates the Story which is about Mulian rescuing his mother's soul from hell and how Chinese painters used the visual language that has been applied by Gu Kaizhi in his artwork to present various portrait. Gu Kaizhi was among earlier Chinese artists who used the tradition of narrative paint in the country. The illustration by the author on how artists in postmodern society applied the same knowledge shows how Gu Kaizhi influenced today's art.

Bai, Qianshen. "Image as the word: A study of rebus play in Song painting (960-1279)." Metropolitan Museum Journal 34 (1999): 57-12.

Qianshen Bai worked as an assistant professor of Chinese art at Boston University whose contribution to Chinese art was great. He presents a broader picture here on the Chinese paintings and the aspect they portrayed. To put the idea into perspective, Qianshen considers the work of great early Chinese artists including Gu Kaizhi whose work of painting influenced the inception of the robus play in Chinese art. These artists highly used the robus aspect of Chinese art creating its widespread usage. The article is essential in illustrating how the great of artists like Gu Kaizhi still influence the art field up today.

Xiaofei, Tian. "Seeing with the Mind's Eye: The Eastern Jin Discourse of Visualization and Imagination." Asia Major(2005): 67-102.

Tian Xiaofei who has shown a lot of interest in the art field is an author of this article. The paper examines how the mind acts and interacts with the physical world in specific reference to Chinese landscape painting. The author examines how the eye of the mind could get the attention of the landscapes including mountains and waters and develop an idea of painting. The work by Gu Kaizhi is illustrated as one of the influence works that many artists have copied to prosper in the painting industry.

Bibliography

Bai, Qianshen. "Image as the word: A study of rebus play in Song painting (960-1279)." Metropolitan Museum Journal 34 (1999): 57-12.

Fong, Mary H. "Images of women in traditional Chinese painting." Woman's Art Journal 17, no. 1 (1996): 22-27.

Fong, Wen C. "Why Chinese painting is history." The Art Bulletin 85, no. 2 (2003): 258-280.

Gao, Jianping. "The Wheel of Fortune vs. the Mustard Seed: A Comparative Study of European and Chinese Painting." Diogenes 59, no. 1-2 (2012): 101-117.

McCausland, Shane. "Nihonga meets Gu Kaizhi: A Japanese copy of Chinese painting in the British Museum." The Art Bulletin 87, no. 4 (2005): 688-713.

Painting in China (Tenth-Fifteenth Centuries)." Religion & the Arts 20 (1/2): 5-28. doi:10.1163/15685292-02001002

Park, J. P. 2015. "The Anxiety of Influence: (Mis)Reading Chinese Art in Late Choson Korea (1700-1850)." Art Bulletin 97 (3): 301-22. doi:10.1080/00043079.2015.1009333.

Spiro, Audrey. "New Light on Gu Kaizhi." Journal of Chinese Religions 16, no. 1 (1988): 1-17.

Tucker, John Allen. 2004. "Art, the Ethical Self, and Political Eremitism: Fujiwara Seika's Essay on Landscape Painting." Journal of Chinese Philosophy 31 (1): 47-63. doi:10.1111/j.1540-6253.2004.00142.x.

Xiaofei, Tian. "Seeing with the Mind's Eye: The Eastern Jin Discourse of Visualization and Imagination." Asia Major(2005): 67-102.