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  • Seated Portrait of Ningzong’s Empress

    The creation of imperial portraits in ancient times symbolized the continuity of dynastic rule, serving as both an emblem of power and one of the most critical visual records for studying historical court attire systems. An example of such is the National Palace Museum’s national treasure, the Seated Portrait of Ningzong’s Empress.

     
    This painting depicts Empress Yang Meizi (1162–1232), consort of Emperor Ningzong, seated with her hands respectfully folded. According to the History of Song: “Yang, Empress Gongsheng, was selected for the palace due to her beauty, with her family background left forgotten.” Although of humble origins, Empress Yang was highly learned. Volume 6 of the Essentials of the History of Calligraphy states: “Ningzong’s empress… was well-versed in literature and history, knowledgeable of ancient and modern matters, and her calligraphy resembled that of Emperor Ningzong… Many of Ma Yuan’s paintings bore her inscriptions.” This indicates her expertise in calligraphy and art appreciation. Poems inscribed by Empress Yang are often found in Ma Yuan’s works housed in the imperial collection, showcasing her disciplined and graceful calligraphy styles and establishing her as a representative figure of accomplished calligraphy among Song dynasty imperial consorts.
     
    In the portrait, Empress Yang wears a crown adorned with dragon-patterned floral hairpins and a ceremonial gown featuring a crossed collar and wide sleeves, with woven and embroidered motifs of paired pheasants. According to the Song Huiyao Jigao (Song Government Manuscript Compendium), “The ceremonial gown was made of plain yarn with an undershirt, accompanied by a long skirt and a green belt... worn for significant occasions such as investitures, sericulture ceremonies, and court assemblies.” This attire corresponds to the ceremonial gowns worn by empresses during their investiture rituals. Additionally, Wenxian Tongkao (Comprehensive Examination of Literature) details the empresses’ attire system: “The empress’s crown features 12 floral ornaments... and is adorned with nine dragons and four phoenixes, while the consorts’ crowns feature nine floral ornaments... with nine pheasants and four phoenixes.” Differences in crown specifications reflected the hierarchical distinctions between women of varying statuses and power within the political domain.

     

     

     

     

  • Manual of Birds

    The Manual of Birds, originally titled the Collaborative Copy of Jiang Tingxi’s “Manual of Birds” by Yu Sheng and Zhang Weibang, consists of 12 volumes, each containing 30 illustrations, for a total of 360 illustrations. The National Palace Museum holds the first four volumes, while the remaining eight are preserved in the Beijing Palace Museum. In 1750, court painters Yu Sheng and Zhang Weibang were commissioned to reproduce Jiang Tingxi’s “Manual of Birds” in the imperial collection. This project spanned 11 years and was completed in 1761. The Manual of Birds includes zoological records, with the right-hand pages featuring detailed gongbi-style paintings that incorporate Western techniques to depict various bird species. Each painting can stand alone as an independent album leaf. The left-hand pages record the birds’ names, shapes, characteristics, habitats, and ecological behavior in both Chinese and Manchu scripts, making it akin to a modern encyclopedic ornithological atlas.

     
    Yu Sheng (fl. 18th century), style name Zengsan and known by the sobriquet Luting, was a native of Changshu, Jiangsu. Both his father Yu Xun and younger brother Yu Xi were skilled painters. During the Qianlong reign, Yu Sheng served in the imperial court, excelling in creating landscape, bird-and-flower, insect-and-fish, and orchid-and-bamboo paintings. Zhang Weibang (fl. 18th century) was a native of Guangling (modern-day Yangzhou) and also served in the court during the Qianlong reign. He specialized in figure and feather paintings. Zhang, along with his father Zhang Zhen and son Zhang Tingyan, represented three generations of court painters.

     

     

     

     

     

  • Illustrations of Agriculture and Sericulture

    Agriculture and Sericulture is a set of agricultural illustrations that depict the processes of farming and silk weaving, serving as a vital visual historical resource for studying ancient agricultural and textile techniques. Several versions of Agriculture and Sericulture produced by the Qing court have been preserved, with this particular album dating back to the Qianlong reign (1736–1795). According to the prefatory text written by Emperor Qianlong in 1739, the album was created to commemorate the virtues of Emperor Kangxi (1654–1722), who prioritized agriculture and sericulture while showing diligence and love for his people. Using Ploughing (1696) from the Kangxi era as its basis, this album was redrawn by court painter Chen Mei (c. 1694–1745) under imperial commission. The complete set consists of 46 illustrations, equally divided between tilling and weaving, with each accompanied by a poem composed by Emperor Qianlong (1711-1799) in response to the original rhymes of Emperor Kangxi. The illustrations are similar in content to the Kangxi version of Agriculture and Sericulture but omit the tilling and weaving poems written by Southern Song poet Lou Shu (c. 1090–1162).

     
    Chen Mei entered the court during the Yongzheng reign (1723–1735) and became a prominent court painter in the early Qianlong period, excelling in flower-and-bird paintings, figure paintings, and architectural paintings. This album showcases a meticulous gongbi technique in depicting scenery, incorporating the Western perspective technique to enhance visual realism. It also skillfully employs diagonal composition and arranges winding paths and sparse fences to create a sense of spatial depth. The album’s colors are lucid and elegant, and the figures are vivid and lifelike, making it both a work of agricultural knowledge dissemination and artistic expression.

     

     

     

     

     

  • The Yellow Emperor Inquiring After the Tao

    This artwork exemplifies the continuation and inheritance of the Southern Song dynasty’s figure painting style by the Ming dynasty court painting academy. Although the painting lacks an author’s signature, the inscription on the colophon by Liu Xiang (fl. 15th century) in 1471 states that this painting was created by Shi Rui, a famous artist living in the capital city. It is presumed that “Shi Rui” refers to the Ming dynasty court painter Shi Rui (fl. 15th century). The painting’s title scroll features the inscription “Bichuang Qingwan” in large clerical script by Xia Heng, the minister of Court of the Imperial Stud. Liu noted that the theme of the painting is “Xuanyuan Wendao,” narrating the story of the Yellow Emperor (Xuanyuan) seeking advice on Taoist self-cultivation from the immortal Guang Chengzi, who resided on the Kongtong Mountains.

     
    This artwork exemplifies the continuation and inheritance of the Southern Song dynasty’s figure painting style by the Ming dynasty court painting academy. Although the painting lacks an author’s signature, the inscription on the colophon by Liu Xiang (fl. 15th century) in 1471 states that this painting was created by Shi Rui, a famous artist living in the capital city. It is presumed that “Shi Rui” refers to the Ming dynasty court painter Shi Rui (fl. 15th century). The painting’s title scroll features the inscription “Bichuang Qingwan” in large clerical script by Xia Heng, the minister of Court of the Imperial Stud. Liu noted that the theme of the painting is “Xuanyuan Wendao,” narrating the story of the Yellow Emperor (Xuanyuan) seeking advice on Taoist self-cultivation from the immortal Guang Chengzi, who resided on the Kongtong Mountains.
     
    The inscription further records that this painting was later acquired by Master Chun Baiyang of the Yanyou Temple and used as a foundation for teaching disciples and establishing Taoist principles. Therefore, this artwork not only illustrates a story of transmitting Taoist teachings but also served a practical purpose within the temple

  • Fireworks over Ryogoku Bridge

    The One Hundred Famous Views in Edo is a series of works made by renowned Edo period ukiyo-e artist Utagawa Hiroshige (1797–1858) during the last two years of his life. This collection depicts the iconic landscapes and landmarks of Edo (modern-day Tokyo). The complete series comprises 120 works, four of which are believed to have been completed by his disciples. In 1854, the Ansei Great Earthquakes caused significant destruction and loss of life in Edo. Utagawa Hiroshige, in creating this series, sought to provide comfort and solace to the people of Edo during this challenging time. Fireworks over Ryogoku Bridge, from the series One Hundred Famous Views in Edo portrays the summer tradition of firework display held between May 28 and August 28 on the lunar calendar. These events took place on the Ryogoku Bridge, which spanned the provinces of Shimōsa and Musashi.

     
    The composition is a distant view dominated by dark tones, with approximately three-fifths of the image showcasing a black gradient representing the night sky, in which the wood grain of the print is distinctly visible. The surface of the Sumida River is rendered with blue gradient printing, while minimal use of red highlights the fireworks, their ascending trails, and the lanterns on boats. The details of the distant scenery, architecture, boats, and crowds are delineated using precise lines and tonal variations. In the upper right corner, the red and white fireworks are depicted using advanced printing techniques to illustrate their radiance as they burst in the sky, creating a dazzling yet hazy glow. This unique depiction of fireworks signifies that this print belongs to the rare “first edition,” one of the earliest works made during the production process, with approximately 200 copies created. During this phase, the artist himself would often supervise the printing while the printmakers would employ a variety of techniques to faithfully replicate the intricate details and layers envisioned by the artist. Such first editions are considered the most valuable and rarest versions of ukiyo-e prints.

     

     

     

  • View of the Nagasaki Harbor

    This painting of a majestic blue harbor narrates the story of early modern East Asian and Western European exchanges. The painting centers on the Nagasaki Harbor, with the sea occupying the majority of the composition. Similar works can be found in prominent institutions such as the Kyushu National Museum in Japan and the Rijksmuseum in the Netherlands. From a stylistic perspective, the artist employs a bird’s-eye view to depict the Nagasaki Harbor scene. The arrangement of urban buildings and the handling of shadows enhance the painting’s strong sense of spatial depth, illustrating the artist’s intent to portray an East Asian harbor using Western painting techniques.

     
    Judging from the image, the artist likely viewed the Nagasaki Harbor from Mount Konpira located north of the city. To the right is Mount Inasa, and to the left foreground is Nagasaki’s urban landscape. Following the coastline into the distance, the surrounding mountains form a natural barrier protecting the harbor, leaving only a narrow strait for ships to navigate. On the sea, Japanese Edo-period vessels are spotted together with Dutch ships (flying the red, white, and blue tricolor flag) and Chinese ships (that regularly sailed the East and South China Seas). Along the coastline lies Dejima, a fan-shaped artificial island constructed in 1641 that served as the exclusive residence for the Dutch. On the left, another square-shaped artificial island can be seen, housing warehouses for Chinese merchants to store goods. Beyond this is the temporary dwelling area for Chinese traders, referred to in Japan as Tōjin Yashiki or Tang House. These overseas merchants, though primarily engaged in trade, sparked a remarkable fusion of Eastern and Western artistic exchanges in this vibrant setting.

  • Shinohara Inside the Crane House

    An Edo woman of both talent and beauty shines radiantly against the glittering mica. This work is part of the Beauty Contest in the Pleasure Quarters, a series of paintings made by artist Chōkōsai Eishō (fl. late 18th century). The term “pleasure quarters” in the title refers to the Yoshiwara red-light district in Edo (modern-day Tokyo). Within the bustling streets of this famous district, the exceptionally talented beauties of various brothels compete to attract customers. The woman depicted in this painting is named Shinohara, a leading figure from the famous brothel “Crane House.” Shinohara is shown turning three-quarter sideways, gazing at a letter in her right hand while adjusting her hairpin with her left thumb and forefinger. This pose conveys her image as a woman of intellect and beauty. Her smiling expression hints at the delightful message revealed in the letter. Notably, this piece incorporates mica as a printing material, which not only enriches the colors of the overprinting but also accentuates the woman’s fair complexion.

     
    Eishō, the artist, was a distinguished disciple of Chōbunsai Eishi (1756–1829) and was renowned for his ōkubi-e prints of beautiful women. Ōkubi-e is a style of ukiyo-e that emphasizes close-up depictions of faces. During his time, Eishō’s works were often compared with those of Kitagawa Utamaro (1753–1806) and his paintings were primarily published by Yamaguchiya Chūsuke. Since Eishō’s creative period was relatively brief, his surviving works are rare, making this work especially precious.

     

     

  • Fujiwara no Kanesuke Kamakura period (14th century)

    Portraits of Thirty-six Immortal Poets refers to the thirty-six renowned waka poets documented in the Anthology of Poems by the Thirty-Six Poets, compiled by the aristocratic poet Fujiwara no Kintō (966–1041) during the Heian period. These poets were later collectively referred to as the “Thirty-Six Immortal Poets” and were often depicted in illustrations and painted scrolls. Typically, each poet’s portrait was accompanied by their name, their brief biographical details, and a waka poem attributed to them. The figures in these illustrations were often rendered in the Kamakura period’s nise-e style, a technique of yamato-e painting emphasizing realism and documentary quality. This style employs delicate ink lines, repeatedly adjusted, to capture the essence of the subject’s facial features and spirit. The subjects of nise-e often included emperors, court nobles, warriors, poets, and occasionally animals such as horses and oxen. 

     
    The inscriptions on this scroll are attributed to Madenokōji Nobufusa (1253–1336), hence its designation as the Nobufusa Version. The depicted poet, Fujiwara no Kanesuke (877–933), is dressed in a black robe, wearing a court hat and holding a tablet. To the right of his portrait are details of his official rank and a brief biography, alongside a waka poem recorded in Gosen Wakashū (The Later Collection of Japanese Poems). This particular poem expresses the anxiety and concern of a parent for their child’s future. It is said that Fujiwara no Kanesuke’s daughter entered the imperial court to help Emperor Daigo change his clothes, and this poem reflects his worries for his daughter.

     

     

     

     

  • Drukpa Kagyu Founder gTsang pa rgya ras and the Passing Down of Related Thangka

    The central figure in this thangka is gTsang pa rgya ras Ye shes rdo rje (1161–1211), the founder of Drukpa Kagyu, a branch of the Kagyu school in Tibetan Buddhism. At the very top is Cakrasamvara, the most venerated tantric deity of the Kagyu school. Surrounding him are earlier Kagyu school masters, including Dwags po lha rje (1079–1153), Phag mo gru pa (1110–1170), Karma pa Dus gsum mkhyen pa (1110–1193), Zhang tshal pa (1123–1194), Gling ras pa (1128–1188; gTsang pa rgya ras’ primary teacher), gTsang pa rgya ras’ principal disciples, and early leaders of Drukpa Kagyu. At the center of the lower section is Zhabs drung Ngag dbang rnam rgyal (1594–1651), a descendant of the gTsang pa rgya ras family. Following disputes over the succession of leadership, Zhabs drung Ngag dbang rnam rgyal left the gTsang pa rgya ras family for Bhutan. He later propagated the teachings of Drukpa Kagyu, unified the various Bhutanese tribes, and established an administrative center, laying the foundation for modern Bhutan.

     
    Bhutan holds the Drukpa Kagyu school in great reverence. This thangka centers on Gling ras pa, gTsang pa rgya ras, and Zhabs drung Ngag, effectively presenting the Drukpa Kagyu lineage from Tibet to Bhutan. The thangka also retains numerous inscriptions in gold ink and serves as a visually exquisite work for recounting the religious and political history of Bhutan. 

     

     

  • Drink Sellers

    Drink Sellers, painted by Qing dynasty artist Yao Wenhan (fl. 1736–1795), is one of the reproductions of ancient paintings by court painters during the Qianlong period. It depicts the popular tea-tasting competitions that flourished from Tang dynasty onwards, where tea enthusiasts would present their prized tea leaves for collective evaluations and competitions. The tea bowls depicted in the painting feature monochrome glaze invented during the Qing dynasty, such as “red glaze” and “green glaze,” rather than the black Jian kiln bowls traditionally used to assess tea colors. From this, it can be inferred that the competition in the painting focused on the taste and aroma rather than the visual appearance of tea.

     
    The imagery in the painting can be traced back to the National Palace Museum’s Tea Garden Contest attributed to Song dynasty artist Liu Songnia (c. 1150–post 1225). In 2021, the Museum organized the special exhibition Hidden Gems: Treasures of Painting and Calligraphy from the Osaka City Museum of Fine Arts, where this painting was displayed alongside Tea Competition attributed to Yuan dynasty artist Qian Xuan (1239–1301) in the collection of the Osaka City Museum of Fine Arts. This pairing highlights the phenomenon of continuous reassembly and adaptation of similar themes. The painting is imbued with the courtly fashion of the era. For instance, the sleeves of the figure holding a fire tong are adorned with a broadly defined four-clawed dragon motif, whereas the elderly man’s robe in the upper-right corner features a floral pattern composed of 12 triangular designs, possibly influenced by Western geometry introduced during the Kangxi reign.

     

     

  • Depiction of Various Species of Sea Creatures (The Fourth Album)

    The term “marine miscellany” originates from the phrase “productions of the sea of various kinds” in the Book of Documents (Chapter “Tribute of Yu”), describing the variety and diversity of sea creatures. According to Shiqu Baoji Xubian (Continuation of Precious Collection of the Stone Moat Pavilion), Depiction of Various Species of Sea Creatures consists of four volumes, introducing a total of 371 marine species. The volume housed in the National Palace Museum is the fourth, comprising 44 leaves and primarily featuring various shellfish and arthropods. Small regular-script annotations are meticulously written around the illustrations, describing the habitats, shapes, and habits of the marine creatures, supplemented by text praising their characteristics. The annotations also include related legends and practical uses. The preface of the first volume, now preserved in Beijing’s Palace Museum, contains the phrase, “Created by Fujian artist Nie Huang at in the maritime border Diaoaoji during the midsummer of 1698,” revealing the date and the artist’s name. In this text, Nie states that he is a native of Qiantang (present-day Hangzhou, Zhejiang) and travels extensively. In 1687, he painted Crab Album, presenting 30 crab species. He later compiled and redrew his previous Crab Album along with other marine creatures he had observed and heard about, combining them into a single work.

     
    This set of illustrations was referred to as “Fish Album” by the Qing court due to the numerous images that focused on fish. According to the Records of Imperial Workshops, in 1726, “Su Peisheng delivered the Fish Album, which was ordered to be stored in the maps section.” Furthermore, between 1738 and 1739, records indicate that the Depiction of Various Species of Sea Creatures was reattached with brocade-covered cases and used as an upper and lower portion.

     

     

     

     

  • Japanese Kerria

    The Japanese Kerria album consists of 12 leaves, pairing 12 poems written by Emperor Kangxi (1654–1722) with 12 flower paintings by court painter Jiang Tingxi (1669–1732). Painted on various colored decorative papers, including powdered paper and gold-flecked paper, the pigments adhered less easily due to the processed surfaces, resulting in the use of rich and vibrant colors. The floral composition appears to have drawn inspiration from illustrations in encyclopedic works such as the Sancai Tuhui. With the artist’s meticulous depiction of the color characteristics of the plants, it is possible to identify the specific flower species.

     
    Most of the poems inscribed by Emperor Kangxi were derived from object-chanting poetry of the Song and Ming dynasties. The fourth, seventh, and tenth leaves feature poems written by Emperor Kangxi, centering on northern flowers such as garden nasturtium and China aster as well as southern flowers such as azaleas transplanted to the court. The text of these poems subtly incorporates words such as “Man” and “Qing,” and the poems often personify flowers, likely with the intention of praising the virtuous character of civilian court officials through the metaphor of flowers. This album gathers flowers from both northern and southern regions, symbolizing that they are all part of the Qing Empire’s natural resources regardless of whether they are newly discovered northern flowers or southern ones deeply imbued with Han cultural significance.

     

     

     

  • Portrait of the Heavenly Master

    This painting portrays what appears to be a Taoist ritual scene in which celestial beings, summoned by a Taoist celestial master, enact the thunder rituals.

     
    The “Taoist celestial master” depicted here is Zhang Daoling (fl. during the reign of Emperor Ming of Han (57–75 CE)), the founder of Zhengyi Dao (i.e., the Way of Orthodox Unity), one of the three major Taoist sects. Zhang was proficient in the arts of Taoist incantations and making pills of immortality, and was revered as the progenitor of thunder rituals across Taoist traditions. Thunder rituals, also known as the “Five Thunders Rituals,” is a powerful and versatile Taoist practice used for invoking wind and thunder, praying for sunshine and rain, exorcising demons, dispelling evil, and healing diseases. 
     
    In this painting, the central figure within the circular halo is a man with a piercing gaze and flowing beard, holding a sword in his right hand and a command flag in his left—an image consistent with traditional depictions of Zhang Daoling. Below him, four celestial beings aligned along the central axis are shown wielding fans, hammers, flags, and books, possibly symbolizing deities associated with wind, thunder, clouds, and rain. The five drums scattered across the composition likely represent the “Five Thunders.” The deities’ swirling garments, billowing flags, and the dry-brush strokes used to outline their swift, descending movements emphasize their rapid descent and the urgency of carrying out divine commands.
     
    Based on the inscription and seal in the lower-left corner, this painting was created by Ming dynasty artist Chen Huai in his late seventies during the Dragon Boat Festival, specifically at midday, as part of a ritual practice involving incense burning and prayers. This context aligns with a folk tradition originating in the Yuan dynasty of painting images of Taoist masters during the Dragon Boat Festival to ward off evil spirits and protect homes. The mention of “burning incense” reflects the piety and reverence involved in the act of painting, as incense burning is a Taoist ritual for summoning divine spirits. Little is known about Chen’s life, but the inscription’s reference to “Yufeng” possibly indicates Yufeng Mountain, a renowned Taoist site in China during the Ming dynasty (present-day Kunshan, Jiangsu). Additionally, the seal reading “Qingranzi” and “Qingran Daoren” suggest that the artist may have been a Taoist follower himself.

  • Hawk in Autumn

    Lin Liang (fl. around the mid-to-late 15th century) was a court painter of bird-and-flower paintings during the Ming dynasty. He excelled in using the ink wash mogu (boneless) technique to depict birds, creating works with vivid plumage and a sense of natural vitality and rustic elegance. During his time, Lin was celebrated as a master of freehand style bird-and-flower paintings, influencing art circles of the Ming and Qing dynasties. Among his surviving masterpieces, Hawk in Autumn in the National Palace Museum’s collection stands out as a particularly exceptional work.

     
    This painting depicts a hawk swooping down in a dramatic dive to chase its prey, while below, a crested myna flees in panic; its terrified demeanor is vividly captured. The diagonal sweep of a gnarled branch extends from the left, cleverly dividing the composition while connecting the two birds. The brushstrokes used for foliage are swift and dynamic, with the curves of the branches echoing the hawk’s sharp turn in pursuit, guiding viewers’ eyes through the scene. Fine branches on the left and right sides form a net-like structure, intensifying the sense of obstacles in the prey’s escape and heightening the tension of the chase. The piece predominantly employs ink, with subtle touches of color and light washes that create an atmospheric, misty effect. Despite its freehand style, the painting demonstrates meticulous attention to detail, evident in the careful rendering of features such as the birds’ beaks, eyes, and claws, showcasing the artist’s keen observations of nature. Through skillful composition and dynamic brushwork, Lin Liang has imbued this dramatic scene with a strong sense of tension and vitality.

     

     

     

  • Fishing in Reclusion on a Flowering River

    Wang Meng (1308–1385), one of the Four Masters of the Yuan Dynasty, created Recluse on a Flowering Stream, a painting inspired by Eastern Jin dynasty poet Tao Yuanming’s (365–427) The Peach Blossom Spring that describes a fisherman’s serendipitous discovery of an idyllic utopia. The composition divides the scene into foreground and background, where the foreground depicts a secluded dwelling, flanked by blooming peach trees along both riverbanks. On the river, a fishing boat drifts serenely, with a fisherman casting his line and a woman seated inside a cabin. This imagery echoes the poetic allusion in the inscription to Fan Li (536–448 BCE) and Xi Shi retreating together to the Five Lakes in a boat. Behind the village, layered hills rise, separating the village from a distant mountain village and reinforcing the sense of isolation from the mundane world.

     
    The theme of Recluse on a Flowering Stream was previously used by Wang Meng’s grandfather, Zhao Mengfu (1254–1322). The painting’s depiction of willow trees in front of a residence closely resembles Zhao’s Autumn Colors on the Ch’ueh and Hua Mountains, demonstrating Zhao’s influence on Wang. However, Wang introduced major innovations, such as the dense brushwork and short, curved lines used to render the mountains. This technique, known as “ox-hair texture strokes,” conveys the lush vegetation of the Jiangnan region. While the imagery draws on The Peach Blossom Spring, the depicted setting may be based on Zha Creek, Wuxing in Zhejiang. This blending of literary inspiration with real-world locations pioneered a novel approach to painting reclusive landscapes.

     

     

     

     

     

     

  • Dragon Boats

    This painting is among the few surviving ruled-line painting masterpieces of the Yuan dynasty and vividly portrays a grand dragon boat, along with over ten smaller boats in dragon and tiger shapes, competing in a lively regatta within the imperial garden’s waterway. The scene brims with festive energy, as described in The Eastern Capital: A Dream of Splendor, which recounts similar dragon boat competitions in Jinming Lake in Bianjing, the Northern Song capital. Rendered with meticulous and consistent ink lines, accented with light ink washes, the painting captures the intricate and precise architectural details of the era, preserving invaluable visual records of Yuan wooden structures.

     
    Attributed to Wang Zhenpeng (fl. 1280–1329), a renowned Yuan ruled-line painter, this work lacks Wang’s signature or inscription but bears his “Ci Gu Yun Chu Shi Zhang” (Bestowed Seal of the Recluse Guyun) and multiple seals of Ming collector Xiang Yuanbian (1525–1590), verifying its provenance. Ruled-line paintings required mastery of structural principles and the use of tools such as rulers, making them an exceptionally challenging genre. Wang’s professional background as an archivist of the Directorate of the Palace Library, and later as a Thousand Household Commander of Grain Transport likely honed his skills in depicting cities, boats, and vehicles.
     
    The National Palace Museum also houses three additional scrolls of the same theme, all bearing Wang’s seals and similar composition, indicating the popularity of this subject. Compared with the other works, this painting is more realistic in its architectural details and spatial arrangement but features fewer dragon boats, lacks water activities, and has simpler patterns and lighter washes. Without inscriptions or colophons, this piece is speculated to be an initial draft that predates the other three scrolls.

     

     

  • Nine Pearly Peaks in Green

    Huang Gongwang (1269–1354), a native of Changshu, was originally named Lu Jian. Orphaned at a young age, he was adopted by an elderly Huang family, leading to him changing his name and style name to Huang Gongwang and Ziju, respectively. Exceptionally intelligent as a child, he began his career at 24 as a clerk in a supervisory office in Hangzhou. At around 48, he was recommended for a position at the Beijing Censorate, but his promising career was abruptly derailed when he was implicated in a case and imprisoned. After his release, he abandoned his official ambitions, becoming a Taoist in the Quanzhen School, adopting the sobriquet “Da Chi,” and dedicating himself to preaching and spiritual practice in Jiangnan. In his spare time, he created numerous masterpieces, gaining fame as a painter and becoming a model for subsequent generations.

     
    In his Xie Shanshui Jue (Secrets of Landscape Painting), Huang wrote about capturing the essence of mountains and water: “Mountain peaks must fold and turn; mountain veins must flow smoothly—this is the vitality of a landscape. Peaks should seem to bow to one another, and trees should align like a disciplined army, exuding an imposing presence that commands respect. This is the way to capture the authentic spirit of mountains.”
     
    This vision is best exemplified in Huang Gongwang’s Nine Pearly Peaks in Green. In the foreground, gentle slopes stretch into the water, interwoven to form a winding river valley. The richly varied peaks in the background fold and connect, descending gracefully from both sides. The peaks appear to bow to each other, while lush vegetation flourishes with grandeur, creating a scene of harmonious vitality.
     
    In the painting, the elements are arranged in an “X” shape, skillfully guiding viewers’ gazes towards the central building. Huang Gongwang deliberately highlights the building’s railings with bold ink strokes, making it clear that this is the focal point of the artwork. The building’s roof features protruding fishtail designs on either side, suggesting that it might be a Taoist temple. The temple is safeguarded by surrounding peaks, while the misty shadows of trees and towering cliffs in the background seem to exude a mystical aura. The rows of trees and moss dots along the mountainside add a vibrant touch, evoking the flourishing vitality of spring. The harmonious interplay of mountains and water creates a scene imbued with spiritual charm and natural beauty. In Nine Pearly Peaks in Green, Huang Gongwang not only emulates the literati painting styles of Dong Yuan and Juran but also adds the perspective of a Taoist, presenting this auspicious feng shui landscape anchored by the temple.

     

     

  • Peace Throughout the Four Seasons

    This vertical hanging scroll is a panoramic ink painting of bamboo, showcasing a new interpretation of ink-painted bamboo that may have been influenced by the preferences of the Yuan dynasty. The work is signed “Xizhai Daoren,” the sobriquet of Li Kan (1245–1320), a literatus of the early Yuan dynasty. Originally from Hebei, Li served as Minister of Personnel in 1312 during the reign of Emperor Renzong of Song and was later appointed as a grand academician of the Hall of Scholarly Worthies. He was active among the Jiangnan literati. Renowned for his bamboo paintings, several of his colored bamboo scrolls have been preserved. He studied and copied ancient masterpieces diligently, but gradually shedding traditional styles after learning from Wen Tong (1018–1079). Li’s works were highly praised by his contemporaries and widely circulated. He also undertook a diplomatic mission to Annan (modern-day Vietnam) and compiled the Bamboo Manual, which detailed the characteristics and local features of bamboo in various regions, documented his artistic journey, and analyzed different bamboo painting methods.

     
    This piece centers on the theme of bamboo and rocks, with the rocks partially visible and suggesting their massive forms. Four bamboo stalks are arranged with natural variations atop a sloped ground, where bamboo roots, bamboo shoots, and weeds grow in the gaps, revealing the artist’s detailed observations. This differs significantly from the casual style of traditional “ink play.” By varying the intensity of ink tones, Li Kan establishes a sense of depth among the bamboo layers and cleverly employs dried bamboo branches to maintain the uprightness of the dense foliage. His meticulous depiction of the full bamboo scene evokes the corner of a garden. Yu Ji’s Dao Yuan Xue Gu Lu (Record of Studying Antiquities in Dao Garden) notes that Li, celebrated for his bamboo paintings, was once commissioned by Emperor Renzong of Yuan to create murals for a newly built palace. This panoramic, landscape-focused ink bamboo painting might have been Li’s response to prevailing court tastes.

     

     

     

  • Autumn Mountains

    This painting’s style resembles that of Mt. Kuanglu (by Jing Hao (fl. 10th century)) housed in the National Palace Museum and represents a classic example of Northern Chinese landscape paintings. Although the artwork lacks an author’s signature, Emperor Qianlong (reigned 1735–1796) played a key role in interpreting and naming the work. In 1751, he inscribed a poetic colophon: “Autumn hills in clusters, a serene grass hut, frosty skies high above, and autumn trees in crimson. The Four Masters of the Yuan dynasty gathered here, with the Seven Sages of the Jin dynasty coming and going. Deeply moved by the laborious composition, amid steep cliffs and verdant glades, I hold my new manuscript, reviewing and editing line by line.” Simultaneously, the emperor titled the painting Autumn Mountain by a Song Artist and stamped it with seals such as “Qianlong’s imperial calligraphy” and “appreciated by the emperor.”

     
    The painting features towering peaks and jagged cliffs, with overlapping multifaceted rock formations creating a sense of massiveness. The contour lines of the rocks appear seamless yet subtly varied. The artist employed short, chapped texture strokes, giving the peaks a forceful, solid texture. Streams meander down the mountains, introducing a sense of depth. The lush trees interweave barren branches, resembling crab claws, amidst dense tree canopies. The scattered arrangement of boulders and slopes, partially obscured by trees and mist, enhances the spatial layering and highlights the grandeur of the mountain forest. At the mountain’s base are residences, fishing boats moored along the water, and travelers visible in the valleys and ravines, adding vitality to the otherwise tranquil and desolate atmosphere. While this piece inherits the traditions of early Northern Chinese landscape painting, its creation is likely traceable to the 13th or 14th century.

     

     

  • The Three Taoist Officials Making an Inspection Tour

    This large painting depicts a magnificent procession featuring the three Taoist deities: the Heavenly Official, the Earth Official, and the Water Official. Such a composition, introducing the combined procession of the three deities, is relatively rare among the surviving depictions of the Three Officials, making this painting particularly unique. Images of the Three Officials first appeared in the Tang dynasty and later circulated in various forms such as murals, scrolls, and scripture illustrations. According to records, Taoist followers would hang images of the Three Officials in Taoist altars for meditation and to invoke the deities’ presence during large-scale universal salvation ceremonies. This painting may have been used for related purposes.

     
    In the painting, the three deities are portrayed traveling by a carriage, lion, and dragon, emerging from clouds, trees, rocks, and waves as they inspect the heavens, earth, and waters. Their entourages include more than eighty celestial and spectral figures with diverse appearances, such as heavenly generals, earth gods, dragon kings, and fish spirits, emphasizing the solemnity of the procession. The artwork features exquisite depictions of ceremonial attire, ceremonial weaponry, and auspicious beasts, with details such as patterns on garments and whiskers on mythical creatures highlighted using gilt lines.
     
    This painting was traditionally attributed to Ma Lin, a court painter of the Southern Song dynasty. However, the painting bears no signature. While the techniques used in rendering the landscapes align with those typically used by Ma, the execution appears less robust. The styles of the deities and spectral figures also resemble the religious figure paintings of professional painters from the Yuan and Ming dynasties, suggesting that it may be a work falsely attributed to Ma Lin by a later artist. The creation date remains uncertain, but it is generally believed to be no later than the Ming dynasty.