中日艺术源流

       本书代表了费诺罗萨等学者以及在费诺罗萨影响下的美国各大博物馆馆长对东亚艺术的鉴赏模式，奠定了亚洲艺术的西方标准，内收录比奇洛（William Sturgis Bigelow）、莫尔斯（EdwardSylvester Morse）、韦尔德（Charles Goddard Weld）等人珍藏的东亚佛教艺术、浮世绘和水墨画作品百余幅，详细阐述了中日艺术史的轨迹和几代美国人的东亚艺术品位。

第二版序言·························································001

前 言······························································003

第1章    中国原始社会艺术·········································015

第2章    中国汉代艺术·············································029

第3章    唐代之前的中国佛教艺术···································039

第4章    朝鲜和日本的早期佛教艺术·································049

第5章    中国的希腊—佛教艺术·····································073

第6章    日本的希腊—佛教艺术·····································087

第7章    中国和日本的密宗艺术·····································113

第8章    日本的密宗艺术···········································131

第9章    日本封建时期的艺术·······································151

第10章    中国的理想主义艺术（一）·································181

第11章    中国的理想主义艺术（二）·································201

第12章    日本的理想主义艺术（一）·································223

第13章    日本的理想主义艺术（二）·································247

第14章    日本德川时期贵族艺术····································265

第15章    当代中国的艺术··········································287

第16章    当代京都的平民艺术······································303

第17章    当代江户的平民艺术······································321

结 语······························································349

附录：索引·························································355

附录：日本画家、画派诸系谱·········································361

       本书代表了费诺罗萨等学者以及在费诺罗萨影响下的美国各大博物馆馆长对东亚艺术的鉴赏模式，奠定了亚洲艺术的西方标准，内收录比奇洛（William Sturgis Bigelow）、莫尔斯（Edward
Sylvester Morse）、韦尔德（Charles Goddard Weld）等人珍藏的东亚佛教艺术、浮世绘和水墨画作品百余幅，详细阐述了中日艺术史的轨迹和几代美国人的东亚艺术品位。