Guo Xi (1023-ca.1085), known by his zi (designated name) Chunfu, was a native of Wen county in Heyang (in today's Henan province). During the reign of Emperor Shenzong (r. 1067-1085) of the Song dynasty, he held a position in the Imperial Art Academy and served as a Hanlin (the emperor's literary retinue). Skilled in painting landscape and winter forest scenes, he learned from Li Cheng and later developed his personal style. He was the author of Lin Quan Gao Zhi (The Lofty Messages from Forests and Streams). This painting depicts a secluded valley with a spring in light ink. Giant rocks tower above the spring, with old trees alongside standing solemnly.

Li Di, a native of Heyang (nowadays Meng county, Henan province), was a painter serving in the Imperial Art Academy. Skilled in painting flowers and birds, he was also able to paint small-size landscapes. The bird in this painting is depicted with great details, and the bamboos are rendered by filling colours in contours, exuding an archaic and pure atmosphere. The inscription reads "painted by Li Di in the ding-wei year (1187) of the Chunxi era". The seal is blurred, possibly reading "Li Di". This painting is the earliest one among Li Di's paintings that are inscribed with a date.

Dong Yuan (?-962), alternatively named Yuan with a different character, was also known by his zi (designated name) Shuda. He was a native of Zhongling (present-day Jinxian, Jiangxi province). He was excelled in depicting the sceneries of Jiangnan (the southern regions of the lower reach of the Yangtze River). This scroll bears no signature from the artist. It depicts overlapping mountains and rivers, with scattered plantation, using dense and varied texture strokes. On the back of the scroll is an inscription by Dong Qichang, attributing the work to Dong Yuan. There are also inscriptions by Fang Shishu, Xu Weiren, Dai Xi, and others, along with a partial "Feng" seal from Jia Sidao.

Zhao Ji, Emperor Huizong of the Song dynasty, was a master of calligraphy and painting, particularly excelling in painting ink bamboo, flowers, and stones. This painting is divided into two parts. The first part depicts crows on a willow tree. The brushstrokes showcase a rustic and archaic style, contributing to the elegance within the artwork. It is widely recognized as an authentic work of him. The painting was once collected in the imperial collection of the Northern Song dynasty, stamped with seals including "Xuan He Zhong Mi (Imperial Collection of the Xuanhe Era)".

Qian Xuan, also known by his zi (designated name) Shunju and his hao (literary names) Yutan and Zhachuanweng, was native to Wuxing (nowadays Huzhou, Zhejiang province). He was skilled in poem, calligraphy and painting. This painting depicts the view of Fuyu Mountain in Wuxing. The shading achieved with straight brushstrokes express the lighting effect on the mountain. Qian applied light colours on trees and grass to create a verdant aura.

Zhao Mengfu, also known by his zi (designated name) Zi'ang and hao (literary name) Songxue Daoren, was a native to Wuxing (nowadays Huzhou, Zhejiang province). He was a descendant of the Song dynasty royal family and served as a hanlin (the emperor's literary retinue). He was revered as a top master of painting and calligraphy. In this painting, he employed the feibai method (a calligraphic method that involves applying a relatively dry brush to create dry and streaky brushstroke) to depict the rocks, method of semi-cursive script for painting orchid leaves, and method of clerical script for bamboo leaves. This is a representative painting of Zhao Mengfu.

Ni Zan (1301-1374), also known by his zi (designated name) Yuanzhen and his hao (literary name) Yunlin, was native to Wuxi, Jiangsu province. He was one of the "Four Masters of the Yuan". The composition of the painting is divided into three parts. Six trees stand on the bank on the foreground. The remote mountains were painted with relatively dry brush for shading. The brushstrokes are brisk and sparse. The painting is named after Huang Gongwang's inscription meaning "six gentlemen standing facing one another". The painting, one of Ni's representative work, was done in the fifth year (1345) of the Zhizheng era when the artist was 40.

Wang Meng (1308-1385), also known by his zi (designated name) Shuming and his hao (literary name) Huanghe Shanqiao, was native to Wuxing (nowadays Huzhou, Zhejiang province). He was one of the "Four Masters of the Yuan". This artist depicted the scene of Bianshan Mountains in Wuxing with the gaoyuan (up-looking perspective) composition. This painting with a dense composition illustrates the artist's mastery of brush painting techniques and subtle use of ink in varied shades. This scroll was painted in the 26^th year (1366) of the Zhizheng era, when the artist was 59.

Wang Yuan, also known by his zi (designated name) Ruoshui and his hao (literary name) Danxuan, was native to Hangzhou, Zhejiang province. He learned landscape painting from Guo Xi and flower-and-bird painting from Huang Quan. Done in the fourth year (1344) of the Zhizheng era, this painting depicts the birds gathering in summer. The birds are rendered by a realistic approach with precise details. The rock and plants are depicted and coloured with varied ink tones and brushstrokes. This painting is a representative work among those that pioneered the "ink flower-and-bird paintings" in the Yuan dynasty.

Wu Zhen, also known by his zi (designated name) Zhonggui and his hao (literary name) Meihua Daoren, was native to Jiaxing, Zhejiang province. Wu Zhen was one of the "Four Masters of the Yuan" and noted for paintings of landscape and ink bamboo. This painting depicts fishermen boating on the lake among the mountains. The simple brushstrokes produce a rustic yet vivid style.

Gu Yuan (1321-1382), also known by his zi (designated name) Zhongyuan and his hao (literary names) Yunwu or Yushan Yiren, was native to Kunshan, Jiangsu province. The Gu family was a gentry in Kunshan. He was the nephew of Gu Ying (1310-1369). Gu Yuan was skilled in landscape painting. This painting depicts Gu Yuan and his friends' trip to Mountain Dan. This work was painted in the fourth year (1371) of the Hongwu reign when the artist was 51.

Lin Liang (1426 - after 1500), also known by his zi (designated name) Yishan, was a native of Nanhai (nowadays Foshan, Guangdong province). During the Tianshun reign (1457-1464), he was appointed as an official serving the court. Lin Liang was adept in painting flowers and birds in both gongbi (meticulous) and xieyi (freehand or expressive) styles. Most of his works were ink paintings, whereas this beautifully coloured painting was an example of his meticulous works.

Lü Ji (1477-?), also known by his zi (designated name) Tingzhen and his hao (literary name) Leyu, was native to Siming (nowadays Ningbo, Zhejiang province). Lü Ji was entitled the command of imperial guards during the Hongzhi reign (1488-1505), serving as a painter in the Renzhi Hall. He was skilled in flower-and-bird painting in both meticulous and expressive styles. In this painting, the artist drew the outline of the flowers and stones and painted the birds in a naturalistic manner similar to that of Huang Quan—detailed and realistic yet not stiff.

Bian Jingzhao (15^th century), also known by his zi (designated name) Wenjin, was native to Sha county in Fujian. Skilled in flower-and-bird paintings, he served as a court painter in both the Yongle period (1403-1424) and the Xuande reign (1426-1435). The birds and flowers in this painting exhibit a style similar to that of Huang Quan. The shading on the stones is achieved through wide brushstrokes. The signature reads "Jingzhao", and the seal reads "Bian Shi Wen Jin" (meaning Bian Wenjin).

Li Zai (?-1431), also known by his zi (designated name) Yizheng, was native to Putian, Fujian province. He moved to Yunnan, and later was summoned to the capital to serve as a court painter during the Xuande reign (1426-1435). Skilled in landscape painting, he learned the meticulous brushstrokes from Guo Xi and bold brushstrokes from Ma Yuan and Xia Gui. This painting presents the story of Qin Gao, a Zhou dynasty person from the Zhao State, attaining immortality. The figures are vividly portrayed. Their clothes are drawn with powerful brushstrokes, while trees, water, and rocks are rendered with expressive brushstrokes.

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). Not interested in the career as an official, Shen made a living through writing, painting, and calligraphy. He learned landscape painting from the "Four Masters of the Yuan", as well as from Dong Yuan and Ju Ran. He later formed his own style. This painting is an imitation of a work by Dai Jin, a master of the Zhe School. It was painted in the 16^th year (1480) of the Chenghua reign when Shen Zhou was 54.

Zhou Chen (ca. 1450-after 1535), also known by his zi (designated name) Shunqing and hao (literary name) Dongcun, was native to Wu county (nowadays Suzhou, Jiangsu province). Zhou Chen was skilled in landscape and figure paintings with meticulous strokes. In this painting, the foreground depicts high trees by rocks, as the cottage welcomes the guests. In the distance, the waterfall cascades down the towering mountains surrounded by misty vast waters. The painting style, characterised by dense and firm brushstrokes, resembles that of Li Tang.

Tang Yin (1470-1523), was also known by his zi (designated names) Bohu and Ziwei, and his hao (literary name) Liuru Jushi. A native of Wu county (nowadays Suzhou, Jiangsu province), the artist was skilled in painting landscapes, figures, birds, and flowers. He learned the art of painting from both Shen Zhou and Zhou Chen. This piece is lightly colored, with the mountain peaks faintly tinted with ochre, depicting a spring scene. The brushstrokes and color washes are used together for the mountains and rocks, and the technique for painting the trees is highly diverse. The brushwork is vigorous and free, making it an outstanding work from the artist's middle years.

Qiu Ying (ca. 1498-1552) is also known by his zi (designated name) Shifu and his hao (literary name) Shizhou. A native of Taicang, Jiangsu province, Qiu Ying was a student of Zhou Chen. He was skilled in imitating ancient paintings, and was an accomplished painter of landscapes, figures, architecture, birds, and animals. He was especially adept in painting ladies. Some of his landscape paintings also adopt a simple style. This painting depicts the scene in a detailed manner, with the signature "Qiu Ying Zhi (made by Qiu Ying)" and the seals of "Shifu" and "Qiu Ying".

Wen Zhengming (1470-1559), original name Bi, is also known by his zi (designated name) Zhengzhong and hao (literary name) Hengshan. 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. This painting depicts the studio of his friend Huaxia. This scroll, one of his representative works, was painted in the 28^th year (1549) of the Jiajing reign when the artist was 80.

Wen Jia (1499-1582), also known by his zi (designated name) Xiucheng and hao (literary name) Wenshui, was native to Changzhou (nowadays Suzhou, Jiangsu province). He was the second son of Wen Zhengming. He excelled in painting landscapes, continuing the legacy of his father. This piece was created in commemoration of a trip to Zhanggong Cave and Shanjuan Cave with Hua Yun and others in the 8^th year (1529) of the Jiajing reign. It was painted using fine brushwork and light ink, with the artist's inscriptions of the scene's name on each leaf. In addition, these inscriptions were written in small regular script, which means that it was a work of refined intent. Created in the 23^rd year (1544) of the Jiajing reign, the artist was 46 years old at the time.

Wu Wei (1459-1508), also known by his zi (designated name) Shiying and his hao (literary name) Xiaoxian, was native to Jiangxia (nowadays Wuchang, Hubei province). Wu Wei was appointed an official in the imperial court, serving as a painter. Adept in landscape and figure paintings, Wu Wei was the founder of the Jiangxia School, a branch of Zhe School. This painting is based on a story about the Yuan dynasty poet Yang Weizhen that involves the making of an iron flute. The artist painted this painting at the age of 26 years old in the 20^th year (1484) of the Chenghua reign.

Du Qiong (1396-1474), also known by his zi (designated name) Yongjia and hao (literary name) Dongyuan Gengzhe, was native to Wu county (nowadays Suzhou, Jiangsu province). Skilled in landscape paintings, Du Qiong learned from styles of Wang Meng. Shen Zhou (1427-1509), also known by his zi (designated name) Qinan and hao (literary name) Shitian or Baishiweng, was native to Changzhou (nowadays Suzhou, Jiangsu province). Shen Zhou was one of the "Four Masters of the Ming". Liu Jue (1410-1472), also known by his zi (designated name) Tingmei and hao (literary name) Wan'an, was native to Changzhou (nowadays Suzhou, Jiangsu province). Liu Jue learned from styles of Wang Meng in landscape paintings. This painting was a collaborative work of the three painters for celebrating the 60^th birthday of Xu Youzhen.

Yao Shou (1422-1495), also known by his zi (designated name) Gongshou and his hao (literary names) Gu'an, Danqiuzi, and Yundong Yishi, was a native of Jiaxing, Zhejiang province. Renowned for his landscape paintings, his brushstrokes display varied tonalities of ink. He was also skilled in depicting bamboo and rocks with round brushstrokes similar to those of Wu Zhen. This album depicts small scenes of landscapes and figures, featuring spaciousness and clarity rendered with steady and composed brushstrokes. This album was painted in the seventh year (1494) of the Hongzhi reign, when the artist was 73.

Xu Wei (1521-1593) is also known by his zi (designated name) Wenchang and his hao (literary names) Tianchi Shanren and Qingteng Jushi. He was a native of Shanyin (present-day Shaoxing, Zhejiang province). Xu was famous for his paintings of trees, flowers, bamboos, and rocks rendered with limited brushstrokes. This painting depicts the objects with wide brushstrokes and ink splashes, displaying an unconstrained style. The variation of ink creates a misty and vibrant atmosphere in effortless beauty, illustrating the artist's super mastery of brush and ink. The artists inscribed three colophons on the painting.

Chen Chun (1483-1544), also known by his zi (designated name) Daofu and hao (literary name) Baiyang, was a native of Changzhou (present-day Suzhou, Jiangsu province). He was a student of Wen Zhengming and developed his own style later. Chen was adept in painting flowers and landscape in an unconstrained and expressive style. The artist was often mentioned together with his peer Xu Wei as "Qingteng and Baiyang". The album was painted in the 23^rd year (1544) of the Jiajing reign when the artist was 62.

Dong Qichang (1555-1636), also known by his zi (designated name) Xuanzai and hao (literary names) Sibai and Xiangguang, was native to Huating (nowadays Songjiang district, Shanghai). He obtained the degree of jinshi after passing the imperial examination in the 17^th year (1589) of the Wanli reign. He later got promoted to the Minister of Rites. Dong was skilled in landscape painting. This painting is accomplished with dense brushstrokes and layers of ink to achieve an elegant style. The artist painted this painting at the age of 50 in the 32^nd year (1604) of the Wanli reign.

Zhao Zuo (ca.1550 - ca.1637), also known by his zi (designated name) Wendu, was native to Huating (nowadays Songjiang district, Shanghai). Adept in painting landscape, he was a student of Song Xu. Zhao founded the Susong School. This painting depicts the flowing water among the mountains, with a person playing qin (zither) under the pine tree. The brushstrokes are gentle and rich. This scroll was painted in the 39^th year (1611) of the Wanli reign. The artist's inscription wrote that this painting imitates the painting Mountain and Flowing Spring by the Yuan dynasty scholar Zhao Mengfu.

Xiang Shengmo (1597-1658) is also known by his zi (designated name) Kongzhang and his hao (literary name) Yi'an. A native of Xiushui (present-day Jiaxing, Zhejiang province), he was skilled in landscape painting, especially in painting pine trees. This painting employs simple and light brushstrokes with elegant colouring. The artist was 58 when he painted this scroll in the 11^th year (1654) of the Shunzhi reign.

Chen Hongshou (1599-1652), also known by his zi (designated name) Zhanghou and hao (literary names) Laolian and later Huichi. A native of Zhuji (nowadays Shaoxing) in Zhejiang province, he was adept in painting figure, flower, and landscape. In his later years, the figures in his painting became exaggerated and decorative. This painting depicts a noble lady leaning on a cage covering an incense burner to scent her dress, as the child is chasing after a butterfly. The artist painted the clothes with gentle and clear brushstrokes with bright colours.

Cui Zizhong (ca. 1574-1644), whose original name was Dan and zi (designated name) Kaiyu, later changed his name to Zizhong and zi to Daomu. He was also known by his hao (literary name) Qingyin. A native of Laiyang, Shandong province, Cui Zizhong lived in Shuntian (today's Beijing). He was adept in painting figures and portraits. On this painting, the lady, with hair bound and crowned, stands amidst rising clouds. Her robe is rendered with smooth yet firm brushstrokes. The clouds resemble strange rocks, presenting a unique style.

Ding Yunpeng (1547-1628), a native of Xiuning in Anhui province, is also known for his zi (designated name) Nanyu and hao (literary name) Shenghua Jushi. The artist was adept in painting figures in meticulous style, especially Buddhist images, as well as landscape and floral themes. This scroll unfolds renowned scenic spots in Mount Wuyi along the Jiuqu (zigzag) Creek, including san gu shi (Three-fairies Rocks), huan gu yan (Bone-changing Rock), and Chongyou Temple. The painting is inscribed with poems by Ding Yunpeng, Fan Yunsheng, Mo Shilong, and other scholars. This is a painting dedicated as a farewell to Feng Sui, who was going on a trip to Mount Lu and Mount Wuyi.

Wang Shimin (1592-1680) is also known by his zi (designated name) Xunzhi and his hao (literary name) Yanke. His ancestors' merits earned him the title Deputy Minister of the Imperial Ancestral Temple in the Ming dynasty, but he refused to serve in the Qing court. Wang lived in Xitian Manor in his later years. A native of Taicang in Jiangsu province, Wang Shimin was the head of the "Six Masters of the Early Qing". This is an album of nine leaves of paintings imitating the styles of six Yuan dynasty masters, each of which captures the unique features of these masters.

Wang Hui (1632-1717) is also known by his zi (designated name) Shigu and his hao (literary names) Wumu Shanren and Gengyan Sanren. A native of Changshu in Jiangsu province, Wang Hui was distinguished for landscape painting, renowned as one of the "Six Masters of the Early Qing". This painting takes the style of Wang Meng with an intense composition, depicting an elegant scene of streams flowing among dense lush mountains. This is a work of his middle age. According to the inscriptions by Zha Shibiao and others, this painting was gifted to the artist's student Gu Xingwen.

Zhu Da (1626-1705), originally named Tongquan, is also known by his hao (literary names) Xuege and Bada Shanren. A native of Nanchang, Jiangxi province, he was a descendant of the Ming imperial family. Zhu Da was famous for his landscape and flower-and-bird paintings rendered with simple and expressive brushstrokes. This is an ink xieyi (freehand) painting depicting fish, duck, and lake rock. The composition shows a balance between the sparse and the dense as well as a combination of stillness and movement. The artist painted the painting at the age of 64 in the 28^th year (1689) of the Kangxi reign.

Hongren (1610-1664), originally named Jiang Tao, was also known by his hao (literary names) Jianjiang and Wuzhi. After the Ming dynasty collapsed, he became a monk. A native of Shexian, Anhui province, Hongren excelled at landscape painting after the style of Ni Zan. He was the leading figure of the "Four Masters of Haiyang". In this painting, Hongren intentionally imitated the "bull-hair texture" shading method of Wang Meng. This painting depicts a mansion in the mountains, where one person is looking afar by the stream and the other is washing the inkstone with attendants. The artist painted the painting at the age of 54 in the second year (1663) of the Kangxi reign.

Kuncan (1612-1673), original family name Liu, is also known by his monk name Shixi and hao (literary names) Baitu and Candaozhe. A native of Wuling (present-day Changde, Hunan province), Kuncan lived in Nanjing in his later years. Adept in landscape painting, he and Shitao were known as the "Two Shi". This painting depicts the landscape with unconstrained, strong, and sparse brushstrokes that show an archaic taste. This scroll was painted in the fifth year (1666) of the Kangxi reign when the artist was 55.

Wu Li (1632-1718) is also known by his zi (designated name) Yushan and his hao (literary name) Mojing Daoren. A native of Changshu, Jiangsu province, Wu Li was skilled in landscape painting and was one of the "Six Masters of the Early Qing". He learned calligraphy from works of Su Shi, and was also a poet. Wu Li was a Catholic. This painting imitates the style of Zhao Danian, depicting landscape in spring. This scroll was painted in the 15^th year (1676) of the Kangxi reign when the artist was 45.

Gong Xian (1618-1689), or Gong Qixian, is also known by his zi (designated name) Banqian and his hao (literary names) Yeyi and Chaizhangren. A native of Kunshan in Jiangsu province, he later settled down in Shangyuan (nowadays Nanjing, Jiangsu province). The most prominent artist among the "Eight Masters of Jinling", Gong was adept in landscape painting, especially renowned for the variation of ink in his paintings. The layering of light ink creates a structured composition stressed with clear highlight. The artist painted this painting at the age of 68 in the 24^th year (1685) of the Kangxi reign.

Xie Sun (17^th century) is also known by his zi (designated name) Xiangyou and Tianling. A native of Lishui in Jiangsu province, he later settled down in Nanjing. Skilled in landscape and flower painting, he was one of the "Eight Masters of Jinling", on par with Gong Xian and Fan Qi in fame. But only a few of his artworks have survived. In the album, the figures scatter among the landscape and countryside. The thin brushstrokes and the wet ink contribute to the unique exquisite composition.

Mei Qing (1624-1697), also known by his zi (designated name) Yuangong and his hao (literary name) Qushan, was a native of Xuancheng in Anhui province. Skilled in landscape painting, he mostly depicted the landscape of the Yellow Mountain and sometimes pine tree and plum blossom. In this album, he applied colours and thin brushstrokes in the paintings that present 19 views of the Yellow Mountain, such as the Hegai Pine, the One-hundred-step Staircase, the Lotus Peak, and the Wu Lao Peak. The artist painted the painting at the age of 70 in the 32^nd year (1693) of the Kangxi reign.

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 of Fujian province, Hua Yan later moved to Hangzhou and Yangzhou. He was skilled in painting figure, landscape, flower and bird, plant, and insect. He depicted birds with a realistic approach, presenting dynamic images. This painting shows a beautiful scene of birds chirping on a towering old tree in an exquisite and elegant style. The artist painted this painting at the age of 68 (1749) in the 14^th year of the Qianlong reign.

Luo Pin (1733-1799) is also known by his zi (designated names) Dunfu and Liangfeng and his hao (literary names) Huazhi Siseng and Jinniu Shanren. A native of She county in Anhui province, he lived in Yangzhou. As a student of Jin Nong, he was especially skilled in painting ink plum blossom. He was also adept in painting figure and miscellaneous themes other than major disciplines in Chinese painting. He was one of the "Eight Eccentrics of Yangzhou". In this painting, Zhong Kui, already drunk, is leaning on a pine tree. The facial features are painted in a rustic and archaic method. The painter used calligraphic brushstrokes in painting the clothes. The tree and rocks are depicted in a xieyi (freehand) manner. The painting bears the artist's colophon and signature.

Zheng Xie (1693-1765) is also known by his zi (designated name) Kerou and his hao (literary names) Banqiao. A native of Xinghua (nowadays Taizhou, Jiangsu province), Zheng Xie was renowned for paintings of orchid and bamboo and was one of the "Eight Eccentrics of Yangzhou". This xieyi (freehand) ink painting depicts bamboo, rock and orchid with strong and smooth brushstrokes. The artist inscribed the colophon on the painting. This work was painted in the 29^th year (1764) of the Qianlong reign when the artist was 72.

You Zhao (18^th century – early 19^th century), also known by his zi (designated name) Boxuan and his hao (literary name) Baixuan, was a native of Changzhou (present-day Suzhou, Zhejiang province). Wang Gong (18^th century – early 19^th century), also known by his zi (designated name) Gongshou and his hao (literary name) Zhupin, was a native of Xiuning in Anhui province. For this painting, You Zhao painted the figures, and Wang Gong did the setting of the scene. Yuan Mei (1716-1798), also known by his later hao Suiyuan Laoren, was renowned for his poems. He had many students, all of whom were called "Suiyuan’s disciples".

Giuseppe Castiglione, also known as Lang Shining (1688-1766), was born in Milan, Italy. He came to China as a missionary in the 54^th year (1715) of the Kangxi reign and later served in the court. He was skilled in painting portrait, dog, horse, flower, bird, and landscape with a style combining the Chinese and Western methods. This painting presents a traditional theme and composition in the Chinese painting tradition with a figurative painting method from the West. The artist painted this painting at the age of 38 in the third year (1725) of the Yongzheng reign.

Xugu (1823-1896), originally named Zhu Huairen, was a monk painter. A native of She county in Anhui province, he moved to Guangling (nowadays Yangzhou, Jiangsu province) and travelled frequently among Shanghai, Yanghzou, and Suzhou. This album includes works depicting flowers, birds, and fish. The realistic approach, elegant brushstrokes, and fresh colours contribute to the album's unique charm. This album is painted in the 21^st year (1895) of the Guangxu reign when the artist was 73.

Dai Xi (1801-1860), a native of Qiantang (present-day Hangzhou, Zhejiang province), is also known for his zi (designated name) Chunshi and his hao (literary names) Yu'an, Chunxi, and Jingdong Jushi. He enjoyed equal popularity with Tang Yifen. The artist rendered landscape in Wang Hui's style and was also adept in painting a variety of subjects including plants and figures. This painting displays a gentle style with composed layers of mountains. He did this work at the age of 59, the fifth year (1859) of Xianfeng Reign.

Fei Danxu (1802-1850), also known by his zi (designated name) Zishao and his hao (literary names) Xiaolou and Huanxisheng, was a native of Wucheng (nowadays Huzhou, Zhejiang province). Fei Danxu was skilled in portraits and painting court ladies. This painting depicts a lady in baimiao (line drawing) from behind who is holding a fan and standing alone beside a tree. Viewers can't see her facial expression but can still feel the artistic mood of this painting, which recalls TangYin's work of the same name.

Ren Xiong (1823-1857), also known by his zi (designated name) Weichang and his hao (literary name) Xiangpu, was a native of Xiaoshan (nowadays Hangzhou, Zhejiang province). He later moved to Suzhou and Shanghai. He was adept in painting figures, landscape, birds, and flowers. He was one of the "Four Rens", whose other three members were his brothers, Ren Xun and Ren Yi, and his son Ren Yu. This painting depicts the goddess of the Luo River after the style of Chen Hongshou with an archaic and eccentric fashion.

Ren Yi (1840-1895), originally named Run with his zi (designated name) Xiaolou, later changed his zi to Bonian. A native of Shanyin (present day Shaoxing, Zhejiang province), he lived in Xiaoshan, and later moved to Shanghai. Ren Yi made a living by painting. He was adept at painting landscape, figure, and flower and bird, especially skilled in portrait. Ren Yi, together with the other three famous painters Ren Xiong, Ren Xun, and Ren Yu, was esteemed as "Four Rens". This painting tells the legend of Lady Hongfu happening during the late Sui to early Tang dynasty. The artist painted this painting in the sixth year (1880) of the Guangxu reign at the age of 41.

Wu Hufan (1894-1968), originally named Yiyan, later changed his name to Qian, also known as Chouyi, and his hao (literary name) Qian'an. Wu signed his painting and calligraphy with Hufan. A native of Suzhou, Jiangsu province, he later lived in Shanghai. Wu Hufan was the grandson of Wu Dacheng, an eminent collector and connoisseur of art. He excelled in landscape painting. Wu Daiqiu, Wu Zishen, Feng Chaoran, and Wu Hufan were collectively called "Three Wu and One Feng". This scroll, painted in 1944 when the artist was 51, is a representative work among his blue-and-green landscape paintings.

Liu Haisu (1896-1994), originally named Pan, was also known by his zi (designated name) Jifang and hao (literary name) Haiweng. A native of Changzhou, Jiangsu province, he was a painter, skilled in landscape and flower-and-bird genres, and a noted art educator. This blue-and-green style painting employed bold use of colours and vigorous brushstrokes. The artist painted this painting at the age of 87 in 1978.

Fu Baoshi (1904-1965), originally named Ruilin, was known by his hao (literary name) Baoshi. A native of Xinyu in Jiangxi province, he was adept in painting landscape, figure, and flower. Fu developed a unique style through combining Japanese painting style and traditional Chinese painting techniques. The artist painted this painting at the age of 44 in 1947. The view of Mountain Lu was rendered with dense and bold brushstrokes.

Huang Binhong (1865-1955) was a native of She county in Anhui, born in Jinhua in Zhejiang province. His original name was Maozhi but changed to Zhi. Later he was mostly known by his hao (literary name) Binhong. Huang excelled in landscape painting, following styles of the Xin'an School in early period. In his later years, Huang's brushworks featured meticulous precision. Huang also painted occasionally flowers, birds, and insects, displaying unique charm. This scroll was painted in 1946 when the artist was 83. The landscape was rendered with rich tones and intense brushstrokes, creating a lush and profound depth.

Gao Jianfu (1879-1951), named Lun, was known by his zi (designated name) Jianfu. Native to Panyu (present day Guanzhou, Guangdong province), he was adept in painting landscape, flower and bird, and figure. He was a pioneer and representative painter of the Lingnan School. This painting combines the xieyi (freehand) technique and Western painting techniques and presents a unique style. The painter accomplished this painting in 1907 at the age of 29.

In the 23^rd year (1684) of the Kangxi reign, the then 53-year-old Wang Hui was invited by his friend Wu Kaizhi to spend the summer in Nanjing. It is believed that Wang Hui painted this work for the two brothers Wu Zhengzhi and Wu Kaizhi. This was Wang Jian's most active and mature period in his art career. He painted layers of mountains with the style of Dong Yuan and Ju Ran, two Five Dynasties period painters. He used the brushstroke method of Yan Wengui from the Northern Song dynasty to depict the view and villages along the river. The artist took three months to accomplish this painting.

"Xiao zhong xian da (Greatness in the small)" was originally a Buddhist term. In the later Ming dynasty, this idea contained within was borrowed and advocated by Dong Qichang as a method of learning traditional Chinese landscape painting. Through painting on album leaves after the artworks from the Five Dynasties period to the Yuan dynasty, the artist could internalize the brushstrokes and composition methods of ancient masters. This approach prepares an artist to draw upon old traditions while expressing personal feelings. Wang Shimin inherited this teaching method from Dong Qichang; so many of his students, including Wang Hui and Wu Li, painted albums of this theme.