The considerable variability in the structure of and materials used in Far Eastern paintings is reviewed to help the conservator develop appropriate treatments. Paintings on silk and paper are primarily discussed, and others are mentioned. Silk was in widespread use in China, Japan, and Korea for painting support. Fibroin, one of the two main proteins of silk is particularly susceptible to degradation by light, but the usual open texture of silk allows the paint to become incorporated into the support which stabilizes it against mechanical stress. Many different kinds of paper have been made in the Far East and the varieties used for paintings appear to be chemically durable. Traditional sizing for silk and paper supports is animal glue and alum. Other support preparations may include beating, brushing, dyeing, and the application of grounds or gold and silver metal leaf. Source materials used in Far Eastern pigments and Chinese ink are discussed. To help control color Far Eastern painters also used different pigment grades. The lean pigment to medium ratios common in Far Eastern paintings can lead to cracking within the paint. Also affecting the stability of Far Eastern paintings is the relationship between the paint and its support, which is discussed.