Wu Wei (1459–1508)
Wu Wei, courtesy names Shiying and Ciweng, and pseudonyms Lufu and Xiaoxian, was a native of Jiangxia (modern-day Wuhan, Hubei). He was a prominent figure of the Zhe School following Dai Jin, renowned for his mastery of figure and landscape painting. Wu’s early painting style was meticulous and refined, but in his middle years, it evolved into a more vigorous and unrestrained approach, characterized by bold and sweeping brushwork. He is revered as the founder of the "Jiangxia School," which gained significant recognition in later generations.
"Fishing Boats Moored at Dusk"
This painting depicts an elderly fisherman resting in a small boat under the pale light of the moon reflected in the water, evoking a serene and tranquil mood. The brushwork is bold and skillful, with vivid and lifelike rendering of the figure’s expression and posture. The piece bears Wu Wei's signature "Xiaoxian Hua" ("Painted by Xiaoxian") and is stamped with the white seal "Wu Wei."
Qian Weicheng (1720–1772)
Qian Weicheng, originally named Xinlai, with the courtesy name Zongpan and the alternate name Jiaxuan, later adopted the pseudonym Chashan. He was a native of Changzhou, Jiangsu. In 1745, during the 10th year of the Qianlong reign, he achieved the highest rank of zhuangyuan (top scholar) in the imperial examination. By 1748, he was appointed to the Southern Study, serving as a close aide to the emperor. A gifted poet, calligrapher, and painter, Qian's artistic style appealed to the emperor's tastes, earning him the title of "court painter-official." These scholar-officials not only excelled in administrative capabilities but also fulfilled the emperor’s cultural and artistic needs. Qian later held prominent positions such as Vice Minister of Works, Vice Minister of Justice, and various academic posts, where he achieved distinction in legal reforms and the handling of examination fraud cases. In 1772, during the 37th year of the Qianlong reign, Qian died at home at the age of 53 while mourning his father. He was posthumously honored with the title "Wenmin," a rare and prestigious recognition also granted to renowned masters Zhao Mengfu and Dong Qichang.
"Early Autumn in the Lake Mountains"
This painting portrays a tranquil and sparsely elegant landscape, embodying the poetic charm and spiritual resonance of Wang Yuanqi and Dong Bangda. The painting is noted for its refined composition and serene aesthetic. It bears the Qianlong Emperor's collection seal and inscriptions, indicating its inclusion in The Precious Collection of the Stone Moat Pavilion and its origins as an imperial collection. The inscription reads: "Respectfully painted by the subject Qian Weicheng," with two accompanying seals: a white seal "Subject Qian Weicheng" and a red seal "Respectful Service."
"Wang Qian (Dates Unknown, Possibly 1864–1935)
Wang Qian, courtesy name Yishou and pseudonym Tiannan Youzi, was a native of Xiaoshan, Zhejiang. Skilled in various artistic disciplines, he was particularly renowned for figure painting. In 1902, during the 28th year of the Guangxu reign, he published A Grand View of the Six Principles. After the Xinhai Revolution, Wang settled in Shanghai, becoming a prominent figure of the Shanghai School (Haipai). His figure paintings were inspired by Ren Xiong and influenced by the bold strokes of Min Zhen from the Eight Eccentrics of Yangzhou, forming his distinct personal style.
""The Five Elders Appreciating Paintings""
This painting depicts five elderly gentlemen engrossed in viewing a painting, showcasing characters of antiquity and eccentricity. Wang’s brushwork is bold and fluid, with a richness and vigor that fully embodies his artistic mastery. The faces incorporate Western chiaroscuro techniques, creating a sense of dimensionality. Each figure displays distinct expressions and postures, resulting in a lively and engaging composition. This work highlights Wang Qian's remarkable ability to blend Eastern and Western techniques seamlessly."
Lu Hui (1851–1920)
Lu Hui, originally named Youkui and later known as Youhui, was a native of Tongli, Wujiang, Jiangsu (now Wujiang District, Suzhou). He was also known by the courtesy name Lianfu and pseudonyms Jiansou, Jian’an, Jingnan Jiuke, Pofu Anzhu, and Rongxi Xuanzhu, among others. As a child, he pursued traditional studies and excelled in his entrance exams as a scholar. However, his path to official titles was blocked after accusations that his father had been involved with the Taiping Army. Lu turned to art under the guidance of Liu Delu, studying flowers, fruits, and feathers, earning acclaim for his orchid paintings. Later, he met Wu Dacheng, whose collection greatly influenced and advanced his artistic pursuits. Lu also traveled extensively, visiting the scenic wonders of Sanxiang and Liaodong, broadening his experience and deepening his artistic expression. His brushwork grew increasingly robust, graceful, and imbued with an ancient and profound charm. Lu excelled across various subjects, including landscapes, figures, flowers, birds, and vegetables, as well as calligraphy, where he was skilled in Han dynasty clerical script and Wei stele styles, noted for their strength and epigraphic quality.
"Harmony of Phoenixes" (1895)
"Harmony of Phoenixes" symbolizes the harmonious relationship between a husband and wife through the imagery of the phoenix and the luan bird singing in unison. This painting is a tribute to the style of Hua Yan, showcasing elegant brushstrokes and warm, refined coloring. The inscriptions demonstrate Lu Hui's exceptional skill in calligraphy, enhancing the overall artistic impact. Created during his middle years, this work reflects his meticulous attention and is regarded as a high-level achievement in his artistic career.
Pan Zhenyong (1852–1921)
Pan Zhenyong, courtesy name Chengbo and pseudonyms Yasheng, Yasheng, Dunsou, Shengfu, Binghu Waishi, among others, was a native of Xiushui, Zhejiang. From a young age, he studied painting and became a disciple of Dai Yiheng. Recognizing Pan's greater talent in figure and lady paintings, Dai suggested he seek other mentors. Subsequently, Pan privately studied under Fei Danxu, mastering his style. At the time, Pan, along with Wu Youru and Sha Shanchun, was renowned as one of the "Three Masters of Figure Painting." Pan Zhenyong also excelled in landscapes and bird-and-flower paintings, drawing inspiration from Wen Zhengming for landscapes and Yun Nantian for flowers and calligraphy. His younger brother, Pan Zhenjie, was also a skilled painter, with a style similar to Pan Zhenyong's. The two brothers were collectively celebrated in Shanghai.
"Awaiting the Moon While Resting the Zither" (1908)
This painting exemplifies the style of Fei Danxu and bears a resemblance to that of Pan's contemporary, Huang Shanshou. It serves as a quintessential example of pre-Haipai lady paintings, characterized by elegant brushwork that balances meticulous detail with expressive strokes. The light, graceful coloring vividly captures the gentle temperament of the depicted women.
Wu Qingxia (1910–2008)
Wu Qingxia, birth name Wude Shu, also known as Longcheng Nushi and Zhuxiang Gezhu, was a renowned modern female painter from Changzhou, Jiangsu. She began painting at a very young age, gaining recognition by her teenage years. Wu had profound skills in landscape, figure, and bird-and-flower paintings. In her middle age, she became known for her paintings of carp and reed geese, establishing a unique style that brought her fame. In the 1960s, she created the "Nine Carp Picture," which was printed in hundreds of thousands of copies, gaining widespread popularity. Her lifelike carp paintings earned her the nickname "Carp Wu."
"Geese by the Reeds"
Wu Qingxia's bird-and-flower paintings followed the traditions of Yun Shouping, Hua Yan, and Bian Shoumin, while also reflecting contemporary influences. Her accurate depictions and adept combination of fine and freehand brushwork resulted in vibrant, clear, and graceful paintings, appreciated by both refined and popular audiences. This reed geese painting, inspired by Bian Shoumin, is one of her favored subjects. The composition highlights the desolate autumn atmosphere with an open river and dark clouds, while the geese's varied postures add pastoral charm. Compared to Bian Shoumin's simple and concise style, Wu Qingxia's work exhibits a bright and accessible modern touch.
Chen Hengke (1876–1923)
Chen Hengke, courtesy name Shizeng, pseudonym Huaitang, and also known as Xiudao Ren, was the grandson of Chen Baozhen and the son of Chen Sanli, from Xiushui, Jiangxi. He was a pioneer in the modern transformation of Chinese freehand figure painting and a forerunner of modern Chinese cartoon art. Chen emphasized the national, inherited, and contemporary nature of art, opposing complete Westernization and refuting any arguments that belittled or denied Chinese painting. He authored works such as "History of Chinese Painting" and "Research on Chinese Literati Painting." Chen's landscape painting was greatly influenced by Shen Zhou, Shitao, and Kun Can, known for its sharp, robust brushwork.
"Inviting Cool Beneath Green Leaves"
The inscription on this piece states that he saw a similar painting by Zhang Ruitu (pseudonym Ershui), so he emulated it. While his brushwork indeed shows Zhang's boldness, it also incorporates elements from Shitao and Kun Can, adding his originality. The rocks are rendered with dry brushstrokes, while the trees are painted with wet brush, creating a contrast between dryness and wetness, achieving a profound and distant atmosphere. The upper left inscription reads: "Inviting coolness with green leaves, seen in Ershui Shanren's brush, painted by Shizeng Chen Hengke." Below the inscription is the red seal "Shizeng."
Zhang Xiong (1803–1886)
Zhang Xiong, courtesy name Shoufu, pseudonym Zixiang, and also known as Yuanhu Waishi, was from Xiushui, Zhejiang, and later lived in Shanghai. He was a prominent painter of the early Shanghai School. Zhang excelled in painting flowers, drawing inspiration from artists such as Zhou Zhimian, Yun Shouping, and Hua Yan, and his works were known for their clear and elegant colors with a bold and ancient charm. He was particularly skilled in painting large peonies with a strong presence. Zhang also painted landscapes, figures, and seal carvings and was an avid collector of calligraphy, painting, and stone inscriptions. Along with Ren Xiong and Zhu Xiong, he was known as one of the "Three Xiongs of Shanghai."
"Fairy Dwelling in the World" (1883)
Zhang Xiong rarely painted landscapes, and this scroll was created when he was eighty-one years old, showing his stability and maturity, mainly following the style of Wang Hui. The foreground features proud pines and unique trees lying on slopes. The middle and distant scenes depict secluded valleys, layered green hills, and a moist and lush atmosphere, conveying a sense of leisurely mountain living. The inscription, composed by Zhang Xiong himself, captures the essence of the painting: "A person in the mountains, an immortal in the world, looking up at the clouds and listening to the spring. Quietly imagining, it seems as if it's right in front of me. When will I be able to join?" This expresses the artist's reclusive feelings.
Zhao Shuru (1874–1945)
Zhao Shuru, originally named Runxiang, had courtesy names Xianchen and Shuru, and later changed his name to Shiwang, with the pseudonym Renchang. In his later years, he referred to himself as Ernu Laoren and was commonly known by his courtesy name, Shuru. He was from Yin County, Zhejiang (now Ningbo). During the late Qing dynasty, he served as a student, and later as a Tongzhi in Fujian. After the establishment of the Republic of China, he lived in seclusion in Shanghai, making a living by teaching and selling his art. Zhao excelled in various art forms, including seal carving, calligraphy, painting of flowers, insects, horses, and birds, and was highly skilled in artistic creation. He was a prominent figure in the Shanghai school of painting, calligraphy, seal carving, and art collection. He was especially renowned for his horse paintings, earning the title "Modern Zhao Mengfu."
Zhao Shuru's calligraphy followed the styles of Zhao Mengfu and Zhao Zhiqian, with profound brush and ink techniques. He integrated calligraphy into his paintings, achieving a balanced and elegant style. This scroll is an exemplary piece of his small freehand brushwork, with the brush and ink used effortlessly and naturally, exuding a scholarly atmosphere.
Chen Hanguang (1879–1957)
Chen Hanguang, originally named Mingyanwei, first used the courtesy name Yisun, later changed to Hanguang, and was also known by the pseudonym Huaihai Ke. He was from Yangzhou, Jiangsu. Born into a scholarly family, he was exceptionally intelligent and passed the county-level imperial examination at the age of sixteen, earning the top position. In the 28th year of the Guangxu reign (1902), he passed the provincial examination and was awarded the title of Baggong but refused to enter officialdom, traveling the country with his father. Known for his integrity, Chen was highly knowledgeable and was invited to work at the Qing History Bureau during the early Republic of China, collaborating with Miao Quansun and Yang Du on the compilation of the "Draft History of Qing." After two years, he returned home and spent his time immersed in poetry, calligraphy, and painting.
"Poetic Inspiration at the Brookside Bridge"
Chen Hanguang had extraordinary talent in calligraphy and painting. His calligraphy was strong and vigorous, exuding elegance and simplicity. He excelled in landscape painting, creating works with serene and profound atmospheres, rich in scholarly spirit. This piece was a gift to Mr. Liu Guojun, reflecting the style of Wang Hui and the artistic conception of Hongren, while incorporating his unique ideas. The brushstrokes are clean and lively, with a clear and elegant artistic conception, embodying a strong literary atmosphere, making it highly remarkable.
