The Immortals Offering Birthday Blessings《群仙祝寿图轴》

Shen Quan (1682–c. 1760)
Courtesy names Hengzhi and Hengzhai, and nicknamed Nanping, Shen Quan was a native of Deqing, Zhejiang. Born into a poor family, he initially learned to craft paper flowers under the guidance of his father, Shen Xinzhai. As a young boy, he accompanied his father on silk-selling trips to Pinghu. It was during these visits that his interest in painting was sparked by observing Hu Mei’s studio. Recognizing his talent and passion, Shen Quan’s father arranged for him to apprentice under the master, setting him on a path to becoming a professional artist.

In 1731, during the ninth year of the Yongzheng reign, Shen Quan was invited to Japan by the Japanese royal court to teach painting techniques. His influence there was profound, and he became the founder of the “Nanping School of Painting,” earning him the title of “the number one imported painter” in Japan.

“The Immortals Offering Birthday Blessings”
This scroll exemplifies Shen Quan’s mastery, blending traditional themes with technical brilliance. The composition features mandarin ducks, narcissus, bamboo, nandina, and ribbon birds, collectively forming a symbolic homage to longevity and prosperity. Mandarin ducks symbolize harmony, narcissus represents renewal, while nandina and bamboo convey resilience and endurance. Plum blossoms, featured prominently, are emblems of perseverance, peace, and long life.

While the themes depicted align with traditional birthday celebration motifs, the artistic execution elevates this piece. Shen Quan’s flowers and birds are meticulously outlined with lifelike accuracy, exuding a sense of depth and luxury. The nandina, bamboo leaves, and roses reflect the influence of Yun Shouping’s boneless method, demonstrating Shen Quan’s adaptability in synthesizing various techniques.

Elements such as the plum blossoms, rocks, and sloping grasses are rendered in a small freehand style, seamlessly merging detailed craftsmanship with expressive brushwork. The tranquil interplay of flowers, birds, streams, and mountain elements evokes a serene aesthetic, balancing natural beauty with symbolic meaning.

The inscription, “Nanping Shen Quan writes Yuan people’s brushwork,” reflects a conventional homage to earlier styles, though the work is primarily characteristic of Shen Quan’s personal artistic identity. The painting, with its harmonious integration of themes, techniques, and Shen Quan’s distinct style, stands as a testament to his legacy.

沈铨（1682—约1760），字衡之、衡斋，号南蘋、南评，浙江德清人。少时家贫，曾随父沈心斋学过扎纸花手艺。十二三岁时，随父贩丝绸至平湖，每过胡湄画室，见其挥洒，从旁谛观不能去，父遂让他拜师学画，成为职业画家。雍正九年（1731）应日本国王之聘，赴日本传授画艺，一时学者如云，形成“南蘋画派”，并被推为“舶来画家第一”。

这幅《群仙祝寿图轴》绘鸳鸯（禽）、水仙、竹子、南天竹、绶带鸟，谐音为“群仙祝寿”。梅花具有坚韧不拔与吉祥平安的寓意，亦有长寿的象征。所绘景物虽然都是传统祝寿题材所常见，然其艺术水平非常高，是沈铨工写结合之作的典型面貌。画面中花鸟勾勒工致精细，造型准确生动，立体华贵之态悉出。南天竹叶和月季花朵的画法则是明显的恽派没骨法，说明他能多方取法为己所用。梅花、树石、坡草以小写意绘出，工写结合，自然妥贴，配以幽涧流水，将花鸟的妍美和山水的清幽结合在一起，给人一种清净祥和的审美感受。款书“南蘋沈铨写元人笔”，其实是当时托古的习惯性写法，画中仅树石流水略有元人的笔意而已，更多的是自己的风貌。