Sha Fu (1831–1906)
Sha Fu, courtesy name Shanchun, also known as Sanchun and Su An, with an alternative pseudonym Xiangjing Waishi, was from Wuxian (present-day Suzhou), Jiangsu. Born into a family of painters, he studied under Wumen painter Ma Xiangen. Sha Fu excelled in figure painting, inspired by Chen Hongshou and Ren Xiong, creating lively and expressive works. He was particularly skilled in painting the faces of ladies, earning the nickname "Sha's Faces." He also painted flowers with elegant and subtle tones, rich in vitality, and his landscapes were sparse and charming.
"Children Playing in the Library"
This painting depicts a lively scene of children playing in a library while their tutor sleeps, except for one child diligently writing in the upper left. The inscription clarifies the theme, praising the hardworking child, who would later become "Wenzheng Gong" (referring to Fan Zhongyan). The painting aims to offer moral instruction rather than simply portraying the joy of children in a classroom. The colors are bright and elegant, with meticulous brushwork capturing the mischievous and lively expressions of the children.
"Qian Weicheng (1720–1772)
Qian Weicheng, originally named Xinlai, courtesy name Zongpan, and later Jiahui and Chashan, was from Wujin (present-day Changzhou), Jiangsu. He was a top scholar in the tenth year of Qianlong (1745) and served in the Southern Study, becoming a close aide to the emperor. Renowned for his poetry, calligraphy, and painting, his style catered to the emperor's taste, establishing him as an ""official painter."" As an official, he served in high positions, fulfilling his duties excellently. Qian Weicheng passed away at home while mourning his father in the 37th year of Qianlong (1772), aged 53, and was posthumously honored with the title ""Wenmin,"" a rare distinction shared by masters Zhao Mengfu and Dong Qichang.
""Pine, Plum, and Immortals""
This painting is executed with fine brushwork, inscribed in small regular script ""Respectfully painted by Qian Weicheng, the subject."" The painting combines pine, plum, daffodil, orchid, lingzhi mushroom, and bamboo in a lively and elegant arrangement, exuding an ethereal and refined air. The composition is dignified and dynamic, with delicate and elegant colors, reflecting the courtly aesthetics merged with literati taste. These plants symbolize longevity, integrity, and auspiciousness, making them common themes in Chinese painting. The upper right corner bears the imperial seal ""Qianlong Yulan Zhi Bao,"" confirming it was painted for Emperor Qianlong and was once part of the Qing imperial collection.
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Qian Qiu (dates unknown)
Qian Qiu, courtesy name Shiting, was active during the Qianlong and Jiaqing periods. He was from Rugao, Jiangsu. Qian Qiu was skilled in landscapes, flowers, birds, and figures, finding a unique path amidst the dominant "Four Wangs, Wu, and Yun" styles. He followed the styles of Shen Zhou and Wen Zhengming of the Wu School, earning considerable fame.
"Mountain Pavilion and Cloud Peaks"
This painting is rendered entirely with meticulous ink on silk. The rocks are depicted with hemp-fiber texture strokes, combining ink washes and contours with a balance of strength and softness, avoiding harsh and jagged lines. Merging elements from the Song, Yuan, and Wu School traditions, it diverges from the prevailing "Four Wangs" orthodox style, showcasing a distinctive personal approach.
Zheng Dai (dates unknown)
Zheng Dai, courtesy name Zaodong, pseudonyms Danquan and Ruishi Shiren, was from Qiantang (present-day Hangzhou), Zhejiang. He was a close friend of Hua Yan in poetry and painting. Art critics praised Hua Yan for his exceptional style and Zheng Dai for his skill. Zheng Dai excelled in painting ladies and flowers, with particularly strong skills in landscapes.
"Plum Blossoms and Scholar"
This painting features a concise composition, with axe-cut strokes depicting rocks that are powerful and vigorous. An old plum tree with gnarled branches and blooming flowers rendered in lead white appears crystalline and delicate, resembling stars. The ink bamboo is also elegant and refined. In the lower left, a scholar reclines leisurely against a rock, his demeanor natural and lifelike. The inscription reads: "At the end of winter in the year of Jiwei, painted by Ruishi Shiren Zheng Dai," with two seals in red and white, "Zheng Dai" and "Zaodong."
Ren Yi (1840–1896)
Ren Yi, courtesy name Bonian, was from Shanyin (present-day Shaoxing), Zhejiang. His father, Hesheng, was skilled in portrait painting and taught Ren Yi from a young age. Later, Ren Yi became a disciple of Ren Xiong and studied under Ren Xun. He excelled in painting figures, flowers, birds, animals, and landscapes. Ren Yi blended ancient and contemporary styles with a focus on realism, creating a new and lively style with vibrant colors and dynamic forms. He found a perfect balance between elegance and popular appeal, influencing many subsequent painters and becoming a great master of the Shanghai School of painting.
Qian Bokeng (1738–1812)
Qian Bokeng, courtesy name Lusi, was also known by his pseudonyms Yu Bei and Puxie Shanqiao. He was a student at the Imperial Academy and the nephew of Qian Weicheng, a top scholar and painter. Hailing from Yanghu (present-day Changzhou), Jiangsu, he was adept in calligraphy, following the styles of Dong Qichang and Huang Tingjian to emulate the works of Li Yong and Yan Zhenqing, gaining recognition in his time.
"Huang Tingjian's Calligraphy Discourse in Cursive Script"
This running script piece demonstrates fluid writing and a rigorous structure, transitioning seamlessly between strokes. It embodies the weightiness of Yan Zhenqing and the uniqueness of Huang Tingjian, marking it as an exceptional work from his later years.
Sun Fuyuan (1894–1966)
Originally named Fuyuan, with the courtesy name Yangquan and pseudonyms such as Fulu, Baisheng, Tongbai, and Songnian, Sun Fuyuan was from Shaoxing, Zhejiang. He was a renowned essayist and journalist. In 1919, under the recommendation of Lu Xun, he entered Peking University, where he worked as a librarian and served as the secretary to Li Dazhao, actively participating in the May Fourth Movement. At the end of 1920, he co-founded the Literary Research Society with Mao Dun, Zheng Zhenduo, and others.
Wang Yachen (1894–1983)
Wang Yachen, a modern Chinese painter and art educator, hailed from Hangzhou, Zhejiang. He was known for his lively and vivid depictions of birds, flowers, and fish, with a particular reputation for painting goldfish. His works are celebrated both domestically and internationally for their elegance and vibrant colors.
Pan Boying (1900–1978)
Pan Boying was a Chinese music educator and painter from Jiangyin, Jiangsu. He was one of the founders of Shanghai Xinhua Academy of Fine Arts. Pan excelled in traditional Chinese painting, with a special fondness for portraying flowers and insects. He authored "Kaiming Music Tutorial."
Chen Zhifo (1896–1962)
Chen Zhifo, also known by his pen name Xueweng, was a distinguished artist and educator from Hushan, Yuyao, Zhejiang (now part of Cixi). His early education was in the field of weaving; in 1913, he enrolled in the Weaving Department of Zhejiang Industrial School, where he studied weaving patterns. Upon graduation, he remained at the school as a teacher. In 1918, Chen received a government scholarship to study in Japan, becoming the first Chinese student to study craft design at the Tokyo School of Fine Arts.
After returning to China, Chen Zhifo contributed to the development of modern Chinese art education, teaching at numerous institutions, including Shanghai Oriental Art College, Shanghai Art University, Guangzhou Municipal Art School, and Shanghai Art College. Following the founding of the People’s Republic of China, he continued his academic work at Nanjing Normal University and Nanjing University of the Arts. Renowned as a modern art educator, he was instrumental in shaping the academic landscape for generations of artists.
In the 1930s, Chen turned his focus toward traditional Chinese painting, particularly detailed bird and flower painting. His works embody a fusion of the meticulous brushwork tradition that dates back to the Song and Yuan Dynasties, with influences from pattern design and Japanese painting, leading to a unique artistic style that distinguished him in the field.
Jiang Zhan and Fellow Artists
This collaborative work was initiated by Jiang Zhan of Changzhou, with contributions from fellow calligraphers and painters Tao Zhu, Gu Kunbo (from Wuxi), and Fang Yi. The piece was created to commemorate the 60th birthday of Mr. Liu Guojun, reflecting both the artistic skills and the close relationship between the artists and the honoree. The work is a remarkable integration of poetry, calligraphy, and painting, embodying the collective creativity of its contributors and serving as a testament to their friendship with Mr. Liu. The historical significance of the work lies in its celebration of a milestone birthday, as well as in the interaction between the artists and their patron.
