This study provides a multidisciplinary synthesis of the historical evolution, material composition, and contemporary revival of Chinese rock color painting. We trace the evolution of mineral pigments from Neolithic painted pottery and early cave paintings to the Tang Dynasty, when they gained popularity, and subsequently to the period of literati ink painting, when their usage declined. The research reveals a fundamental connection between the significance of pigments and the broader artistic and cultural changes in China, specifically in the realm of ceramic aesthetics. Ceramics are specifically emphasized in comparative material studies because of their historical role as early substrates for mineral color and their concurrent technical heritage in color saturation, layering, and pigment stability. This study outlines the shared origins of rock color painting and ceramic decoration in mineral-based visual art. The study subsequently examines the resurgence that occurred in the late 20th century. It discusses how Chinese artists educated in Japan introduced novel material advancements. These comprise synthetic rock pigments, superior mixing agents, and enhanced methods for color sorting. The study investigates the interplay between traditional Chinese techniques, Japanese industrial pigment research, and modern scientific developments in binder formulation. This research offers novel insights on the relationship between pigment invention and the connection of ancient art forms, such as pottery, to contemporary fine art practices through an analysis of rock color painting within a material-cultural framework. It significantly contributes to the ongoing discourse over tradition, sustainability, and the future of mineral-based media.
Fan et al. (Fri,) studied this question.