This painting, without the signature or seal of the painter, realistically depicted the autumn holly hock. The painter captured four distinct stages of growth: full bloom, budding, flower buds, and fruit-bearing – each rendered with exquisite detail. A masterpiece of Southern Song dynasty lifelike painting, the work bears the collector's seal of Ming dynasty connoisseur Xiang Yuanbian.

Wu Bing (dates of birth and death unknown), a native of Piling in Wuyang (present-day Changzhou, Jiangsu province), served as a court painter in the Southern Song dynasty Imperial Art Academy and specialized in flower-and-bird paintings. This work is inscribed "Painted by Wu Bing" at the lower part. The painting depicts bamboo rendered with the outline technique, featuring both leafless branches and foliage in green and yellow hues. A small sparrow perches on a bamboo tip, scratching its head with one claw. The sparrow is lightly shaded. The artist rendered its feathers with thin and meticulous brushstrokes. This piece stands as an outstanding example of the Imperial Art Academy tradition of lifelike painting.

Wang Shen (1048-1104), also known by his zi (designated name) Jinqing, was a native of Taiyuan (in present-day Shanxi province) who lived in Kaifeng (in present-day Henan province). He married to a princess of the imperial family. Skilled in painting and calligraphy, this scroll is one of several remaining versions of his work Misty River and Mountain (Yanjiang Diezhang Tu), characterized by its refined brushwork and elegant, lush composition. Following the painting are two poems inscribed in running script by Su Shi, along with his postscript, as well as two responsive poems with postscripts by Wang Shen himself.

Liang Kai (dates of birth and death unknown), a native of Dongping (in present-day Shandong province), was a painter serving at the Imperial Art Academy in the Jiatai era. He was adept in painting landscapes and figures. This painting is divided into eight sections. The second, third, fifth, and eighth sections are inscribed with "Liang Kai". This work depicts the anecdotes of the eight noble monks: Bodhidharma meditating in front of a cliff, the young Hongren encountering an elder sage in woods, the poet Bai Juyi conversing with the monk Wuke, the monk Zhixian holding the broom and looking at the bamboo grove, the master Yuanze predicting to Li Yuan his reincarnation as the water-fetching woman's son, the master Guanxi asking a child for water, the monk Louzi confessing in front of a restaurant, and the master Shibei of the Xuansha Temple leaning on a fishing boat. Each section is accompanied by inscription without signature. Liang Kai painted this masterpiece in his middle age.

Wang Meng (1308-1385), is also known by his zi (designated name) Shuming and hao (literary name) Huanghe Shanqiao. A native of Wuxing (present-day Huzhou, Zhejiang province) and the grandson of Zhao Mengfu, Wang Meng was one of the "Four Masters of the Yuan". The painting depicts towering green pines beneath which stand several cottages. A person sits reading a scroll, while to the right, two figures converse with each other in a riverside pavilion. The mountains are rendered with line as shading and imposing atmosphere. This work belongs to the artist's late middle age.

Zhao Mengfu (1254-1322), also known by his zi (designated name) Zi'ang and his hao (literary name) Songxue Daoren, was a native of Wuxing (present-day Huzhou, Zhejiang province). A scion of the Song imperial family, he became a hanlin scholar (the emperor's literary retinue) of the Yuan dynasty. He was adept in painting and calligraphy. This handscroll depicts the mountain outline with ink and colours the landscape with blue and green. Small trees scatter all over the landscape. The painter painted with deliberately restrained brushwork and colouring techniques. A Ming dynasty copy by Cui Fu, attached to the original painting, is inscribed with the seal script title "The Remote and Clear Landscape of Wuxing". The copy was done when the original painting was still intact.

Zhang Wo (?-ca. 1356), is also known by his zi (designated name) Shuhou and his hao (literary name) Zhenqisheng. His ancestral home was in Huainan in Jiangsu. He resided in Hangzhou in Zhejiang. He specialized in line drawing figure painting following Li Gonglin's tradition, and was also accomplished in landscape painting. This handscroll, executed in line drawing technique, may be a copy after Li Gonglin's Illustrations of the Nine Songs of the Northern Song dynasty. Each section is followed by the seal-script inscription by Wu Rui (1298-1355) in the sixth year (1346) of the Zhizheng era.

Xie Jin (ca. 1360-ca. 1435), also known by his zi (designated name) Kongzhao and his hao (literary name) Lantingsheng, was a native of Wu county (present-day Suzhou, Jiangsu province). This artist excelled in landscape painting, particularly in depicting layered mountains. Thus, he styled himself "Xie Dieshan" (Xie of layered Mountains). This work was created as a farewell gift for his friend Sheng Yin, drawing inspiration from Wang Meng and Wu Zhen, with restrained yet firm brushwork. The painter used luowen paper (paper with texture similar to gauze), and balanced the thickness of the ink and the water-absorption quality of the paper. The artist completed this work in his later age in the 15^th year (1417) of the Yongle reign.

Shen Zhou (1427-1509), also known by his zi (designated name) Qinan and his hao (literary names) Shitian and Baishiweng, was native to Changzhou (nowadays Suzhou, Jiangsu province). Adept in painting landscape, flowers, and birds, he was the leading figure of the "Four Masters of the Ming". This coloured painting depicts a serene scene of friends conversing in a cottage among the forest in the mountain. Painted in the 20^th year (1484) of the Chenghua reign when the artist was 58 years old, the work was dedicated to Chen Yi, son of the painter's esteemed mentor Chen Kuan.

Wen Zhengming (1470-1559), original name Bi, is also known by his zi (designated name) Zhengzhong and hao (literary names) Hengshan and Tingyunsheng. A native of Changzhou (nowadays Suzhou, Jiangsu province), he was renowned for paintings of landscape, flowers, bamboo, and orchid. A student of Shen Zhou, he developed his own style later. He was one of the "Four Masters of the Ming". This painting features mountains in outline, rocks textured with simple shading strokes, and trees rendered either with leafless branches or dots as leaves. This painting exhibits a refined and austere style. This work was completed in the tenth year (1531) of Jiajing reign, when the artist was 62 years old.

Tang Yin (1470-1523), also known by his zi (designated names) Bohu and Ziwei, as well as his hao (literary name) Liuru Jushi, was a native of Wu county (present-day Suzhou, Jiangsu province). He studied under Shen Zhou and Zhou Chen, and excelled in landscape, figure, and bird-and-flower paintings, becoming one of the "Four Masters of the Ming". This work depicts a scene of gentle spring, with rocks rendered in long strokes and willow branches in thin lines. The artist inscribed his poem on the upper right section.

Qiu Ying (ca. 1498-1552) is also known by his zi (designated name) Shifu and hao (literary name) Shizhou. He was native to Taicang in Jiangsu. He studied under Zhou Chen, and excelled in imitating earlier works. He was adept in painting landscape, figure, and architecture, becoming one of the "Four Masters of the Ming". This large-scale ink work demonstrates unrestrained brushwork with modulated ink tones, achieving an air of leisurely elegance. It is among the finest works of the artist.

Wang Lü (1332-after 1384) is also known by his zi (designated name) Andao and his hao (literary name) Jisou and Baodu Laoren. A native of Kunshan in Jiangsu, Wang Lü was famous for landscape painting. He completed this album for his unforgettable visit to Huashan in Shaanxi. This is an early example of travel record paintings. It was painted in the seventeenth year (1384) of the Hongwu reign when the artist was 53 years old. This is his only remaining painting.

Xu Wei (1521-1593) is also known by his zi (designated names) Wenqing and Wenchang and his hao (literary names) Tianchi Shanren and Qingteng Jushi. A native of Shanyin (present-day Shaoxing, Zhejiang province), Xu Wei is noted for his paintings of landscapes, figures and flowers, expressing dramatic emotion with only a few brushstrokes. This scroll is divided into sections, each depicting exquisite flowers rendered with calligraphic brushstrokes appropriated from cursive script, while the colouring technique stands out as particularly unconventional. Every section is inscribed by the artist's own poem.

Dong Qichang (1555-1636), a native of Huating (present-day Songjiang, Shanghai), is also known for his zi (designated name) Xuanzai, and hao (literary name) Xiangguang Jushi. An art connoisseur, the artist was adept in both calligraphy and landscape painting. Dong Qichang painted this painting at the end of the Tianqi reign and the beginning of the Chongzhen reign, while Chen Jiru wrote the poems on another piece of paper mounted on the scroll.

Lan Ying (1585-after 1664) is also known by his zi (designated name) Tianshu and his hao (literary name) Diesou. A native of Qiantang (present-day Hangzhou, Zhejiang province), Lan Ying was renowned for his paintings of landscape, figures, flowers and birds with free and vigorous brush strokes. This painting depicts a lakeside rock outlined in ink, while bamboo branches, autumn chrysanthemums, and cotton rose are painted in the xieyi (freehand) style behind the rocks. A small sparrow perches on a branch. This artist inscribed the work as homage to Ma Yuan's style. This is a rare surviving bird-and-flower painting in his works.

Shitao (1642-1707), a descendant of the Ming dynasty royal family, was originally named Zhu Ruoji. He was known by his Buddhist name Yuanji, his zi (designated name) Shitao and his hao (literary name) Dadizi. A native of Quanzhou in Guangxi, he moved to Xuancheng and Nanjing in succession, and finally settled in Yangzhou. Adept in painting landscape and flowers, he was one of the "Four Monks of the early Qing". This well-preserved handscroll unfolds with meticulous composition and the artist's inscription about the painting. It stands as an exceptionally rare large-scale work among his works.

Wang Shimin (1592-1680) is also known by his zi (designated names) Xunzhi and his hao (literary names) Yanke and Xilu Laoren. A native of Taicang in Jiangsu, Wang Shimin rose to the Taichangsi Shaoqing (Vice Minister of the Department of Rituals and Sacrifices) in the Ming dynasty, but he refused to serve in the Qing court. A master of landscape painting, he was regarded as the foremost of the "Six Masters of Early Qing". This work was painted after Huang Gongwang's style with exquisite, meticulous and firm brushstrokes. This scroll was painted in the third year (1664) of the Kangxi reign, when the artist was 73.

Wang Jian (1598-1677) is also known by his zi (designated name) Yuanzhao and his hao (literary names) Xiangbi and Ranxiang Anzhu. A native of Taicang in Jiangsu, Wang Jian was good at landscape painting. He was one of the "Six Masters of the Early Qing". He refused to become an official after the Ming dynasty collapsed and lived in Loudong. This work was painted after Dong Yuan's style. Different layers of ink present a lustrous effect. The painting was painted in the 11^th year (1638) of the Chongzhen reign when the artist was 41 years old.

Wu Li (1632-1718) is also known by his zi (designated name) Yushan and his hao (literary name) Mojing Daoren. A native of Changshu in Jiangsu, Wu Li was noted for his landscape painting and was one of the “Six Masters of the Early Qing”. This is the pictorial representation of the poem Pipa Xing by the Tang dynasty poet Bai Juyi. This painting was a gift for Xu Zhijian. It was painted in the 20^th year (1681) of Kangxi reign when he was 50 years old.

Zhu Da (1626-1705), also known by his zi (designated name) Xuege and hao (literary name) Bada Shanren, was a native of Nanchang in Jiangxi. A descendant of the Ming royal family, he became a monk. Adept in painting flowers, birds, and landscape, he was one of the "Four Monks of the Early Qing". His works always boast simple brushwork that are highly expressive. These album leaves depict flowers, birds, fish, and rocks, capturing the essence of the objects. The album was painted in the 32^nd year (1693) of Kangxi reign when the artist was 68.

Hongren (1610-1663), originally named Jiang Tao and also known by his zi (designated name) Liuqi, became a monk in the early Qing dynasty. A native to She county in Anhui, he was also known by his hao (literary names) Jianjiang and Wuzhi. As one of the "Four Monks in the early Qing", he was adept at landscape painting in the style of Ni Zan. This painting depicts a towering cliff with an empty boat moored by the shore. The rocks are rendered with slanted brush for shading, interspersed with sparse trees, thin grasses, and slender bamboos that define layers of the mountain. The artist painted this painting in the 16^th year (1659) of the Shunzhi reign at the age of 50.

Gong Xian (1618-1689) also named Qixian, is known by his zi (designated name) Banqian and hao (literary name) Banshan Yeren. A native of Kunshan in Jiangsu, he lived in Shangyuan (present-day Nanjing, Jiangsu province). As one of the "Eight Masters of Nanjing", Gong Xian was adept in landscape painting and using ink with variation. This painting depicts a thatched cottage among streams and mountains, with trees shedding leaves. The artist employed layered shading to create a well-structured composition. This painting was completed in the 21^st year (1682) of the Kangxi reign when the artist was 65 years old.

Gao Qipei (1660-1734), a native of Tieling in Liaoning, is also known for his zi (designated name) Weizhi and hao (literary name) Qieyuan. Noted for various painting subjects including flowers and birds, animals, figures, and landscapes, the artist adopted a simple and vigorous style similar to that of Wu Wei. He was especially renowned for his finger paintings that demonstrate unique methods of using ink. This finger painting depicts autumn willows along the stream, with a sparrow and an egret.

Hua Yan (1682-1756) is also known by his zi (designated name) Qiuyue and his hao (literary names) Xinluo Shanren and Ligou Jushi. A native of Shanghang in Fujian, Hua Yan lived in Hangzhou and Yangzhou. He is noted for paintings of figures, landscapes, flowers, birds, plants and insects. Hua Yan paid great attention to drawing from life. This painting presents ink bamboo above a cluster of rocks, rendered in ochre tones. A pheasant is walking on the slope. The painting exhibits lively expressiveness.

Luo Pin (1733-1799) is also known by his zi (designated names) Dunfu, Liangfeng and hao (literary names) Huazhi Siseng and Jinniu Shanren. A native of She county in Anhui, he took residence in Yangzhou. As one of the "Eight Eccentrics of Yangzhou", Luo Pin is noted for his paintings of landscape, figures and flowers. This painting shows calligraphic brushstrokes with seal script style, which corresponds to the artist's inscription.

Yu Zhiding (1647-1716) is also known by his zi (designated name) Shangji and his hao (literary name) Shenzhai. He lived in Jiangdu (present-day Yangzhou in Jiangsu province). Yu Zhiding was a renowned expert in figure painting in the Kangxi reign. This work renders the face of the figure with subtle colours. The artist skillfully used outline drawing, colour wash, and ink-based modeling. The artist drew the folds of the drapery with light and slow hand movement. According to the artist's inscription of the painting, the background was painted after the style of the Northern Song master Wang Shen. This could be regarded as an excellent work of the artist.

Jiang Tingxi (1669-1732), also known by his zi (designated name) Yangsun and hao (literary names) Nansha and Qingtong Jushi, was a native of Changshu in Jiangsu. A jinshi (a successful candidate in the imperial examination) during the Kangxi reign, he rose to the Grand Secretary. He specialized in painting flowers and birds. This painting is not a commissioned work by the emperor. The work was painted after Shen Zhou's style, executed with remarkable ease. The artist painted this work in the eighth year (1730) of the Yongzheng reign at the age of 62.

Gai Qi (1773-1828) is also known by his zi (designated name) Boyun and his hao (literary name) Qixiang. He lived in Songjiang (in present-day Shanghai). Gai Qi was skilled in painting figures, portraits and especially court ladies. This painting illustrates the scene inspired by the poem of Wu Qi. It depicts a noble lady, holding red beans, while her maid painted from behind, presenting a tray with both hands. The drapery of the figures is depicted with firm brushstrokes, and the colouring evokes classical elegance.

Xugu (1823-1896) was a Buddhist monk whose original name was Zhu Huairen. A native of She county in Anhui, he later moved to Yangzhou in Jiangsu, and took his residence in Shanghai in his later years. In his early years, Xugu studied jiehua (architecture painting) and later he became famous for paintings of flowers, fruits, birds, fish and landscape. This scroll depicts flowers of the four sections, executed with crisp and vigorous brushwork, rendered in the mogu ("boneless" or without contour) technique using delicate colors, achieving a luminous richness.

Zhao Zhiqian (1829-1884), originally known by his zi (designated name) Yifu and his hao (literary name) Lengjun, later changed his zi to Weishu and hao to Bei'an. He was a native of Kuaiji (present-day Shaoxing, Zhejiang province). This painting depicts towering cliffs with rugged surfaces overlooking flowing water. The layered rock resembles stacked books, hence its name "Jishuyan (literally 'accumulated books cliff')". The shading on the cliff emulates pine bark patterns, executed with powerfully robust brushwork. This work was created as a gift for Pan Zuyin.

Huang Binhong (1865-1955), originally named Maozhi and later renamed Zhi, was also known by his zi (designated name) Pucun and later Binhong by which he was primarily known. He was born in Jinhua in Zhejiang, but he was native to She county in Anhui. He was a master of landscape painting and seal engraving. This particular work showcases his freehand brushwork with red and white hibiscus flowers. His vigorous yet unconstrained strokes are complemented by an elegant colour palette.

The Jiucheng Palace was originally built as the Renshou Palace under Emperor Wen (541-604) of the Sui dynasty. In 631, Emperor Taizong (598-649) of the Tang dynasty ordered its renovation as an imperial summer retreat. He renamed the palace Jiucheng (literally ninefold) because its mountainous surroundings were described as "ninefold layers of peaks". Its ruins are located in present-day Linyou county, Baoji city, Shaanxi province. The official Wei Zheng (580-643) described the palace as: "Crowning the peaks, turning the steep gorge and springs into its ponds and moat; bridges span over waters; pavilions and towers reach high up to the sky; the palace is embraced with corridors and encircled by towers on all sides. The eaves look overlapping with each other, creating a staggered view." Yuan Yao's painting, completed in the second month of the 53^rd year (1714) of the Kangxi reign, vividly depicts this grandeur.

The theme "Peach Blossom Spring" in painting originates from the literary work Peach Blossom Spring by Tao Yuanming (ca. 365-427) in the Eastern Jin dynasty. It tells the story of a fisherman during the Taiyuan era (376-396) who discovered a hidden arcadia while wandering through a peach forest. Yuan Jiang's depiction closely follows the narrative of the story. The fisherman's boat appears in the second panel, while the entrance to the cave leading to the Arcadia in the Peach Blossom Spring is depicted in the third panel. The scene of the fisherman conversing with the inhabitants of the arcadia is shown in the fourth panel, with an oar lying on the ground hinting at his identity. This work was completed in the 11^th month of the Bingzi year (1696) during the Kangxi reign, and it reflects the artistic influence of the Southern Song painter Ma Yuan.