Bi Han (1732–1807)
Bi Han, courtesy name Youhan, and pseudonyms Jiaolu and Zhi'an Daoren, was from Yanghu (present-day Changzhou), Jiangsu. He excelled in landscape painting, adhering to ancient techniques while also learning from Yun Shouping and Wang Yuanqi, and was renowned for his dual excellence in painting and calligraphy. The Qing critic Wang Xuehao praised him, saying, "Recent paintings are either constrained by rules or overly free, both from not knowing ancient methods. Jiaolu's natural talent and skill surpass contemporary trends, truly surpassing current practices," showing immense admiration.
"Landscape Scroll"
This landscape scroll depicts the scenery of Jiangnan, with the artist's fluid brushwork using dry ink for texture strokes and light shading, achieving an artistic effect of richness and clarity. From the inscriptions, it is known that Bi Han created this work after seeing Qian Weicheng's long landscape scroll, following its general style. More than a decade later, at the age of seventy-four, he revisited and refined the painting, advising the owner to "preserve it well," marking it as a cherished creation. The seamless integration of the two phases of painting is evident, and the scroll contains numerous inscriptions by notable figures, adding to its value.
Wu Hong (c. 1610–c. 1690)
Wu Hong, courtesy name Yuandu, and pseudonym Zhushi, was originally from Jinxian, Jiangxi, but later settled in Nanjing. His home in Yunlin Mountain, near the ancestral home of Zhou Lianggong in Jinxian, contributed to his cultural immersion. Known for his bold personality and eloquence, Wu Hong excelled in painting landscapes, ink bamboo, figures, and poetry. As one of the "Eight Masters of Jinling," his landscapes followed Song and Yuan traditions, with bold and free brushstrokes. He often used chaotic brush and axe-cut strokes for rocks and strong brushstrokes for trees, making him the most uninhibited among the Jinling School painters.
"Imitating Yuan Dynasty Landscape"
This painting's composition alternates between dense and sparse areas, creating a unique scene. Jagged rocks rise from the lower right corner, connected by a straight corridor. A thatched cottage and courtyard are half-hidden in the forest, with cliffs and trees hanging behind. The distant background features a serene creek and sparse trees, blending harmoniously with the expansive water in the foreground and contrasting with the jagged rocks and trees. The painting's spatial rhythm, created by the varying perspectives and blank spaces, immerses the viewer. The rocks are rendered with different brushstrokes, including chaotic brush, small axe-cut, and hemp-fiber texture strokes, varying with distance. The lines have a fuzzy texture due to the paper medium, with slight smudging adding to the overall charm. The brush and ink exhibit the thickness and strength of Song artists and the elegance and clarity of Yuan artists, making this paper work more profound than his silk paintings. The inscription reads: "Song-style brush techniques taught by Master Muweng. Two days before the Double Ninth Festival in the year Renzi (1692), by Wu Hong of Jinxian." The seals include "Seal of Wu Hong" in white and "Yuandu" in red.
Yun Bing (dates unknown)
Yun Bing, active during the Yongzheng and Qianlong periods, courtesy name Qingyu, pseudonym Haoru, and alternative pseudonym Lanling Nushi, was from Wujin (present-day Changzhou), Jiangsu. She was the second daughter of the scholar Yun Zhonglong and the great-granddaughter of Yun Nantian. Growing up in an artistic family, she began painting from a young age. By the age of thirteen, she could paint flowers and birds using the ""boneless"" technique, effectively inheriting the Yun family style.
"Wealth and Honor of the Jade Hall"
Yun Bing's ""boneless"" meticulous paintings are characterized by their elegance and finesse, particularly excelling in the use of powder. The paintings are exquisitely beautiful, showcasing the utmost in graceful charm. Early in the Qianlong reign, the Governor of the Two Jiang Provinces presented Yun Bing's painting to the Empress Dowager, and the Qianlong Emperor praised it in verse, bringing her instant fame. For a female painter to receive such honors was very rare, indicating Yun Bing's high level of skill and reflecting the acceptance of the Nantian painting style at the time. This painting features white magnolias and pink peonies, with full, rich blooms exuding luxury and elegance. The flowers, branches, and leaves all sway gracefully. The brushwork is delicate and beautiful, the colors are bright and elegant, and the use of powder is superb, making the flowers appear to shimmer in the sunlight. This work is a representative masterpiece by Yun Bing. The inscription reads: "Inspired by Northern Song artist Xu Chongsi's coloring, Lanling Woman Yun Bing." The seals include "Seal of Yun Bing Nushi" in white and "Qingyu" in red.
Gu Luo (1763–after 1837)
Gu Luo, courtesy name Yumen, and pseudonym Ximei, was from Qiantang (present-day Hangzhou), Zhejiang. He excelled in various disciplines of calligraphy and painting. His calligraphy was ancient, robust, and round; his landscapes were rich and moist; his flower and bird paintings were bright and lively, with a cheerful style; his depictions of ladies were refined, serene, and elegant, particularly noted for their beauty and grace.
""Portrait of the Elegant Lady""
This painting features light and elegant brushwork depicting plum blossoms, bamboo, and rocks. The lines are delicate and strong, with an unhurried and free-spirited touch. The narcissus is rendered in meticulous detail, exuding a cool elegance. A lady with slender eyebrows and a narrow waist holds a plum branch in a cutting motion, radiating an antique and refined beauty. The lady's clothing is painted with simple and ancient lines, with delicate and elegant coloring, combining both primitive and flamboyant qualities, making it a meticulously crafted work.
Shen Feng (1685–1755)
Shen Feng, courtesy name Fanmin, and pseudonyms Buluo, Fanming, Buluo Waishi, among others, was from Jiangyin, Jiangsu. He studied calligraphy under Wang Shu and excelled in iron-brush painting and landscapes. He claimed that seal carving was his foremost talent, followed by painting and calligraphy. His dry-brush paintings were often mistaken for those of Ni Zan, and his works were highly regarded by Yuan Mei, who had many of his handwritten couplets.
""Bamboo Grove Retreat"" (1753)
This painting, executed with fine brushstrokes and light ink, captures a deep and serene atmosphere, reflecting Shen Feng's late-career emulation of Huang Gongwang and Ni Zan. The distant mountains rise majestically, with a thatched pavilion atop a rocky outcrop. Nearby, a few houses are nestled among dense bamboo, with a figure reading inside. The composition is orderly, beautifully conveying the ideal of a reclusive scholar's life. The inscription reads: ""In the eighteenth year of Qianlong, the year of Guiyou, painted while staying at Mile Hall in Hanjiang. By Buluo Waishi Shen Feng."" The seals include ""Seal of Shen Feng"" and ""Stone Longevity.""
Yu Zhiding (1647–1716)
Yu Zhiding, courtesy name Shangji, also known as Shangji and Shangji, with the pseudonym Shenzhai, originally from Xinghua, Jiangsu, later lived in Jiangdu (present-day Yangzhou), as both places were part of Yangzhou Prefecture at the time, often signing ""Guangling Yu Zhiding."" He studied under Lan Ying and later explored the styles of various Song and Yuan masters, excelling in figures, landscapes, and flowers. He was particularly skilled in portrait painting, capturing both form and spirit with precision. His portraits varied widely, from pure outline to the ""Jiangnan style"" with layers of red and white, and some influenced by Western painting. He skillfully placed portraits in various backgrounds like landscapes, gardens, studios, and couches, effectively conveying the subject's personality and aspirations, elevating the art of portrait painting once more after Zeng Jing. He served in the imperial court and was highly esteemed in Beijing, with many famous portraits attributed to him.
""Portrait of Portrait of Wang Lutai""
This exquisite figure painting by Yu Zhiding portrays the renowned early Qing landscape painter Wang Yuanqi. Yu Zhiding and Wang Yuanqi collaborated on court painting projects, fostering a natural friendship. This portrait, housed in Changzhou Museum, depicts Wang Yuanqi seated in a half-lotus position on a low, flat rock, gazing forward, with a book he was reading placed beside him. The setting includes bamboo, clouds, a stream, and distant mountains, highlighting Wang Yuanqi's scholarly and reclusive character. The figure is rendered with balance between outline and color shading, capturing both form and spirit. The inscription reads: ""By Guangling Yu Zhiding,"" with the seal ""Seal of Shenzhai"" in red. Surrounding the mounting are colophons by Gu Yun, Yao Jingyuan, and Wu Yusheng, tracing the painting's provenance.
Wang Yuanqi (1642–1715)
Wang Yuanqi, courtesy name Maojing, and pseudonym Lutai, also known as Shi Shidaoren, was from Taicang, Jiangsu. He achieved the jinshi degree in the ninth year of Kangxi (1670) and was summoned to serve in the court for his dedication to painting. Wang Yuanqi was entrusted with compiling the ""Peiwenzhai Calligraphy and Painting Manual"" and rose to the position of Assistant Minister of the Ministry of Revenue. Wang Yuanqi received direct guidance from his grandfather Wang Shimin and dedicated himself to landscape painting, following the styles of Dong Qichang and his grandfather. Favored by the Kangxi Emperor, he led the artistic community, forming the ""Loudong School."" Along with Wang Shimin, Wang Jian, Wang Hui, Wu Li, and Yun Shouping, he was among the ""Six Masters of the Qing Dynasty,"" representing the orthodox lineage of Qing dynasty landscape painting.
""Solitary Mountain"" (1698)
Wang Yuanqi excelled in landscape painting, following his family's tradition and drawing inspiration from Huang Gongwang. He favored dry brush and scorched ink, layering texture strokes with a steady hand, claiming his brush had a ""diamond's edge."" This painting depicts the scenery of Little Lonely Mountain, situated in the Yangtze River in Anhui Province, known for its strategic and picturesque location, praised by many literati. The year Wuyin corresponds to the 37th year of Kangxi (1698), when Wang Yuanqi was 57 years old. The inscription indicates the painting was created before that year. This work showcases the typical style he established after the age of fifty, with rich and clear brush and ink charm, an abundant scholarly atmosphere, and a high degree of elegance. The upper right corner bears the inscription: ""While traveling on the river, I sketched Little Lonely Mountain, using the brush of Da Chi, during the winter of the year Wuyin (1698) and early winter of the year Gengchen, while in the capital, Lutai Qi."" The seals include ""Sweep Flower Temple,"" ""Seal of Wang Yuanqi,"" and ""Lutai."
"Hua Yan (1682–1756)
Hua Yan, courtesy name Qiuyue, and pseudonym Xinluo Shanren, was from Shanghang, Fujian. A renowned painter of the Yangzhou School, Hua Yan spent most of his life between Yangzhou and Hangzhou, making a living by selling his paintings. He excelled in painting, calligraphy, and poetry, earning the title of ""Three Perfections."" His most famous contributions to painting were his innovative small freehand bird-and-flower technique, along with the styles of Bada Shanren's large freehand ink paintings and Yun Shouping's ""boneless"" realistic style, forming the three major creative influences in Qing dynasty bird-and-flower painting, which significantly inspired late Qing and modern painting development.
""Cloud Sea of Mount Tai""
This large freehand landscape painting by Hua Yan vividly depicts the mystical scenery of the cloud sea of Mount Tai. The near mountains are shrouded in mist, appearing ethereal and majestic, while the peaks loom beyond the clouds. The entire composition radiates an aura of dynamic tranquility, capturing the harmony of motion and stillness, showcasing Hua Yan's rich imagination and expressive power."
Jin Nong (1687–1763)
Jin Nong, courtesy names Shoumen, Sinong, and Jijin, and the pseudonym Dongxin, had many alternative names, including Jiliu Shanmin, Qujiang Waishi, Ji Mei Zhu, Lotus Body Hermit, and Wealthy Farmer of the 120 Inkstones Field. He was from Qiantang (present-day Hangzhou) but lived in Yangzhou for a long time. Jin Nong was an expert in identifying inscriptions on ancient bronzes and stones, and he created his unique "lacquer script." He began painting formally after the age of fifty, excelling in plum blossoms, bamboo, figures, and landscapes, with a distinctive, unrefined style, making him a representative painter of the Yangzhou School.
"Dharma" (1762)
This painting by Jin Nong, created at the age of 76, is one of his late works, produced a year before his death. The composition is harmonious and serene, with a detailed portrayal of the Dharma figure, particularly the expressive eyes. The vivid red robe contrasts sharply with the subdued background, enhancing the overall impact. Jin Nong used bold outlines for the figure, with thick, substantial brushstrokes, and softer shading for the background, creating layers of contrast. The painting exudes a transcendent and serene atmosphere, capturing the essence of Dharma's spirit. The red robe technique originated from Zhao Mengfu and was widely adopted in the late Qing and Republican periods, especially by Zhang Daqian. The inscription reads: "Painted by the 76-year-old Jin Nong." Below the inscription is the seal "Jin Shi Shoumen." The lower right corner bears the red collection seal "Collected by Zhang Yunzhong of Shanyin."
Huang Shanshou (1855–1919)
Huang Shanshou, originally named Yao, was known by the courtesy names Xuchu and Xuchu and the pseudonyms Lisheng, Xudaoren, and Hexi Waishi. Born in Wujin, Jiangsu (modern-day Changzhou), Huang came from a humble background but demonstrated remarkable artistic talent from a young age. By his early teens, he was already skilled in painting. Renowned for his versatility, he excelled in landscapes, flowers and birds, and figure painting. Early in his career, he worked as a guest artist, and later, after the Xinchou year, he gained international recognition, selling his works overseas and becoming a prominent figure in Shanghai's art scene.
"Dragon Appearing in the Clouds"
This scroll showcases Huang Shanshou's exceptional skill in depicting ink dragons, a subject he mastered through both rigorous study and direct observation of nature. Inspired by Mi Zhun of Changzhou and informed by his practice of studying natural forms like clouds and mist at dawn, Huang developed a unique style that combined technical precision with dynamic expression.
