Taking the current world art history as a holistic whole, this essay critically reflects and defines the notion of Chinese art history and the scope it covers. The argument unfolds along three lines. Firstly, Chinese art originated from four sources, instead of a single source. Secondly, the differentiation between Chinese art and Western art hinges on the ontology of art, rather than the division and comparison of the specific demonstration of its contents, and draws upon two connotations of the concept of art that emerged as early as the dawn of human civilization. Thirdly, the development of Chinese art is characterized with the constant self-renewal of its steady center and the radical changes of its turbulent periphery. Along the line, this essay questions the usual way that China and the outside world perceive Chinese art.