This dissertation is comprised of two parts: a biographical study of the eminent seventeenth century art patron and critic Chou Liang-kung and an annotated translation of his well-known collection of biographies of contemporary artists entitled Tu-hua-lu (Lives of Painters). A detailed catalogue of extant paintings by the Tu-hua-lu artists from the author's original collection has also been included.

The purpose of the work is to arrive at a better understanding of the milieu in which mid-seventeenth century artists worked through a study of Chou Liang-kung's life and thought and a critical annotated translation of his Tu-hua-lu. No attempt has been made to trace the stylistic development of a single artist or group of artists in depth, but a contextual approach has been used in an analysis of three artists; Hu Yu-k'un, Ch'en Hung-shou, and Wang Hui.

Within the biography; several major themes have been explored: Chou's aesthetics and art criticism in relation to contemporary art trends; the role of the patron as an influential intermediary between individual artists and between schools; the impact of the political and social events of the day on the lives of artists and their patrons.

Chou Liang-kung's thoughts and actions are examined against those of his teachers, friends and mentors in order to explore the major cultural themes of the day. The question of Chou's collaboration with the Manchus and his relationship with Ming loyalists has been closely studied. Evidence of Chou's own critical views of the Manchu rulers has been uncovered which helps explain his intimate relations with loyalists and his special appreciation of artists whose lives and works were a form of protest.

The Tu-hua-lu, which is comprised of biographical sketches of seventy-seven contemporary painters based on the author's own direct contact as a friend, patron and critic provides a wealth of first-hand information on the art of the period. Although long recognized as the single most important primary historical source for mid-seventeenth century painting no complete translation of the work has ever been published. This fully annotated translation, attempts to solve problems of translation and interpretation by referring to numerous outside contemporary sources and by viewing the text in conjunction with Chou's own life, his other writings, and the history of the period. A history of the work and a critical analysis is provided in the introduction to the translation.