The thesis is a demonstration of an integrated methodology in the investigation of Chinese paintings. Section I outlines methods of analysis used by specialists in China, Japan and the West, and proposes their integration. Section II implements the Integrated Methodology in the identification of prime objects in a group of works attributed to Wu Zhen now in the National Palace Museum, Taipei. Section III presents a systematic method of investigating the non-genuine works, and charts their respective relationships to the prime objects and/or to each other. The findings clarify fundamental issues regarding period styles in the fourteenth and fifteenth centuries and challenge, by implication, long held assumptions of authenticity of a great many works labelled with Yuan dates. They invite a reconsideration of our methodology as well as our basic assumptions of style-images associated with particular masters.