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| Acknowledgements | |
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| Notes to the Reader | |
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| Preface | |
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| Some Problems of Expectation or Speculations on Why Originality Can't Be a "Traditional Chinese" Value {When It Is) | |
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| Key terms indicate values | |
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| Local and time specific terms | |
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| Terms of more universal application | |
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| The curious case of "originality" | |
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| Why not? | |
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| Chinese art historical literature hovers around the concept of originality | |
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| The importance of originality is debatable | |
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| Terms and phrases suggestive of originality in the critical literature | |
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| Phrases involving "originality" | |
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| Passages with terms implicating originality | |
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| More about yi $$$ and du $$$ | |
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| Qi $$$ | |
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| Why insist on talking about originality in Chinese art theory and criticism? | |
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| Why does the belief persist that originality is antithetical to Chinese cultural demands? | |
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| Copying and Confucianism | |
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| Copying and Xie He | |
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| Late 19th-early 20th century Chinese taste and values | |
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| US collectors and the display of Chinese art | |
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| May Fourth ideology | |
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| Cold War ideology | |
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| Originality as a "traditional Chinese" value | |
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| Xie He's Six Laws of Painting | |
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| Conclusion | |
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| Some Problems of Interpretation or Discerning the Flavors of a Fine Kettle of Fish | |
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| Terms of identification | |
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| Models of interpretation | |
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| Relevance | |
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| Ideas and Words | |
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| How Ideas Spread Across China and Among the Classes | |
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| Political and economic change | |
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| Imperial exams | |
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| New social roles and acceptable professions | |
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| The publishing industry and public lectures | |
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| Words and the art world | |
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| The Importance of a Word: A Discussion of Critical Terms | |
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| Qi in dictionaries | |
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| Qi in early texts | |
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| Correlates of qi | |
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| Related terms | |
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| What the Theorists and Critics Had to Say | |
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| What the Texts Say: Originality in Pre-Seventeenth-Century Art Theory and Criticism | |
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| Qi in art theory and criticism of the Six Dynasties | |
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| Period (210-581) | |
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| Qi in art theory and criticism of the Tang Dynasty (618-906) | |
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| Qi in art theory and criticism of the Song Dynasty (960-1279) | |
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| Qi in art theory and criticism of the Yuan Dynasty (1279-1368) through the early Ming Dynasty (1368-1400) | |
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| Qi in art theory and criticism of the mid Ming Dynasty (1400-1600) | |
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| What the Texts Say: Originality in Seventeenth-Century Painting Theory and Criticism | |
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| Basic meanings of qi in theory and criticism | |
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| Qi as originality | |
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| The importance of breaking the rules | |
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| The Qi-Zheng dialectic | |
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| What the Texts Say: Originality in Seventeenth-Century Calligraphy Theory and Criticism | |
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| Calligraphy theorists, critics, and texts | |
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| Qi as ineffable | |
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| Qi as different and strange | |
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| Qi as unbalanced | |
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| Qi as extraordinary and great | |
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| Qi as original | |
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| Qi and zhuo | |
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| Qi and zkeng | |
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| Qi and rule breaking | |
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| Images | |
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| The Other Dong Qichang | |
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| Originalism in Dong Qichang's paintings | |
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| Originalism in Dong Qichang's calligraphy | |
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| What Originality Looks Like: Wu Bin's On the Way to Shanyin | |
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| The painting | |
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| Illustrations to Chapter 9 | |
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| The inscription | |
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| The title and subject matter | |
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| The Legacy of a Concept | |
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| The End of Originality as the Seventeenth Century Knew It | |
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| The effects of Qing policy on aesthetics | |
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| Conservative aesthetic theory and criticism of the early Qing Dynasty | |
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| Early Qing discourse moves away from qi as original | |
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| Epilogue: A New Canon: Qi Becomes the New Zheng | |
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| Appendix: Instances of the Use of Qi, Yi, and Guai in Sobriquet Dictionaries | |
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| Notes | |
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| Bibliography | |
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| Index | |