Lu Ji (261-303) with zi (designated name) Shiheng, was native to Wu county (nowadays Suzhou, Jiangsu province). Sun Quan, the King of the Wu State, entitled Lu Ji's grandfather Lu Xun "Marquis of Huating (Huating refers to nowadays Songjiang District in Shanghai)". Lu Ji's Letter of Recovery was the earliest master's calligraphy work remaining today. It is regarded as the "Very First Model Calligraphy". The original work is in the Palace Museum collection. This rubbing comes from Liang Qingbiao's Calligraphy in the Qiubi Studio of the Qing dynasty.

In the Five Dynasties period, Qian Chu, the King of Wu-Yue State, commissioned the building of Leifeng Pagoda. The site of the pagoda is located on the Southern bank of the West Lake. Among the bricks, some bricks with round hole in the middle hold the sutra scrolls. This is one of the scrolls found in the bricks. This sutra scroll starts on the right with a painting of a Buddhist story. This complete scroll testifies as a physical example of early Chinese printing as well as a treasure of the Wu-Yue State.

Mi Fu (1051-1107) was also known by his zi (designated name) Yuanzhang and hao (literary name) Haiyue Waishi. His ancestral home was in Taiyuan in the Shanxi province. Later, his family settled in Zhenjiang in Jiangsu province. He was one of the "Four Calligraphy Masters of the Song". Mi Fu was the first mayor of Qinglong town in Huating (present-day Qingpu district, Shanghai) after this position was set up. This was originally mounted together with Su Shi's A Letter to Liu Xi as part of Four Works by Su Shi and Mi Fu. Daozu refers to Xue Shaopeng, a calligrapher who enjoyed equal popularity with Mi Fu, as they were frequently mentioned together as "Mi and Xue".

Zhang Yuan (active in the 14^th century), also known by his zi (designated name) Meiyan, was native to Huating (nowadays Songjiang District in Shanghai). Adept in painting landscape and figures, he learned his style from Ma Yuan and Xia Gui. The Ming dynasty connoisseur He Liangjun from Huating of Songjiang (nowadays Fengxian in Shanghai) remarked: "During the Yuan dynasty (when the country was ruled by the Mongols), no other painters are more skillful than Cao Zhibai, Zhang Yuan, and Ren Renfa. These three painters inherited the most essential spirit of painting, so that they can be regarded as masters." This is the only work by Zhuang Yuan remaining today.

Yang Weizhen (1297-1370), also known by his zi (designated name) Lianfu and his hao (literary name) Tieya, was native to Zhuji (nowadays Shaoxing, Zhejiang province). As a leader of the poem writing in Jiangnan at the end of the Yuan dynasty, he developed his own literary style called "Tieya style". Especially adept in running-cursive script, he combined the smooth and elegant style of Wang Xizhi and Wang Xianzhi and the firm and rigorous style of Ouyang Xun, which makes his brushstrokes grand and unique. He dwelled in Songjing (nowadays in Shanghai) to avoid the chaos at the end of the Yuan dynasty. He often organized literati gathering, in which they composed poems and did paintings for entertaining. His friends and students scattered all over Jiangnan.

Sun Zuo (1320 – after 1404), also known by his zi (designated name) Daya and his hao (literary name) Dongjiazi, was native to Jiangyin. He was a descendent of Sun Kuang, the fourth brother of Sun Quan (182-252). He was the deputy director of Guozijian (governmental higher education institution) at the beginning of the Ming dynasty. A friend of Tao Zongyi and Song Lian and a renowned writer, he wrote Cangluo Ji. His calligraphy is extremely rare. Sun wrote this poem for Xu Ji's study with upright structured characters and firm brushstrokes.

Cao Zhibai (1272-1355), also known by his zi (designated name) Zhensu and his hao (literary name) Yunxi, was native to Huating (nowadays Qingpu, Shanghai). Born in a rich family, he liked collecting and making friends. Ni Zan, Gu Ying, and him were referred to as the "Three Famous Literati in Jiangnan". He once proposed ideas for digging the Wusong River. He learned his landscape painting style from Li Cheng and Guo Xi. Cao corresponded with Huang Gongwang and Ni Zan with poems and paintings. In his late years, he integrated the style of Dong Yuan and Ju Ran in his paintings.

Wen Riguan, also known by his zi (designated name) Zhongyan and his hao (literary name) Riguan, was native to Huating (nowadays Songjiang, Shanghai). He became a monk during the late Yuan to the early Ming dynasty. In his later years, he lived in Manao Temple in Hangzhou, with the Buddhist name Ziwen. He was famous for painting ink grapes with the calligraphic method of cursive script. Thus, he was also referred to as "Wen Putao" (grapes). He was deeply influenced by Shen Zhou, Wen Zhengming, Chen Chun, and Xu Wei. This painting was accomplished with a casual and expressive manner. Though it is a Ming dynasty copy, it still gives a hint of Wen's typical style.

Shen Du (1357-1434), also known by his zi (designated name) Minze and his hao (literary name) Zile, was native to Huating (nowadays Songjiang district in Shanghai). He obtained the title of hanlin (the emperor's literary retinue) through his skilled calligraphy. He was appointed as a Hanlin Scholar, a fifth-ranking official in the Hanlin Academy (the imperial academy). During the reign of the Emperor Chengzu of the Ming, the emperor always appointed him to write the official documents or records. He and his brother Shen Can were reputed as "Two Shens of Yunjian" and were regarded as influential calligraphers of the Songjiang School.

Shen Yuan, also known by his zi (designated name) Qiating, was native to Shanghai. A court painter from the Yongzheng to Qianlong reign, he was adept in painting landscape and jiehua (architecture painting), especially skilled in painting arhat. "Bingxi (ice skating)" was regarded as a national tradition during the Qianlong reign. This painting commissioned by the court in the 11^th year (1746) of the Kangxi reign depicts the soldiers participating in an ice-skating competition on the iced Beihai Lake. This vivid painting provides precious historical evidence.

Li Sheng, also known by his zi (designated name) Ziyun and his hao (literary name) Ziyunsheng, was native to Haoliang (nowadays Fengyang, Anhui province). In his later years, he lived in a simple house near Dianshan Lake (also called Dian Lake before, located in nowadays Qingpu district, Shanghai). He was adept in painting ink bamboo and rock, as well as landscape. Li enjoyed equal popularity with Ke Jiusi. This is a farewell gift to the Daoist Cai Xia who was going to Chongzhen Temple. It is the earliest painting known today that depicts the view of Dianshan Lake. It can be regarded as the Shanghai version of Dwelling in Fuchun Mountain.

Ni Zan (1306-1374), also known by his zi (designated name) Yuanzhen and his hao (literary name) Yunlin, was native to Wuxiin Jiangsu province. His whole family moved to Lize in Wujiang in the 13^th year (1353) of the Zhizheng reign, and later moved near the Mao Lake in Songjiang (nowadays in Shanghai) in the 26^th year (1366) of the Zhizheng reign in order to avoid the war. When he returned home in the 28^th year (1368) of the Zhizheng reign, he painted this painting for his friend Yuanhui. This painting is regarded as a masterpiece of his later years. It was collected by Li Yingzhen and inscribed with a colophon by Wu Kuan.

Zhang Bi (1425-1487), also known by his zi (designated name) Rubi and his hao (literary name) Donghai, was native to Huating (nowadays Fengxian district in Shanghai). Adept in cursive script, he learned his style from Zhang Xu and Huaisu. These characters are mostly in cursive script, with a few characters in running script, which is different from his extremely expressive cursive script calligraphy. The content of the work is related to phonology, reflecting the evolution of the pronunciation in the northern and southern dialects. It is a valuable material for the research on Shanghai dialect.

Xu Guangqi (1562-1633), also known by his zi (designated name) Zixian and his hao (literary name) Xuanhu, was native to Shanghai. A renowned scholar in the late Ming dynasty, he was once appointed as the Minister of Rites and the Great Scholar of Wenyuan Ge (the palace library). Xujiahui, literary meaning "confluence of the Xu family", was named after him. Farming in the North (Bei Geng Lu) was his essays on agriculture. He wrote this manuscript when he was farming in Tianjin. There are ten pages remaining today. These two pages compare the features of Anhui ink and Song jiang ink, which reflects the communication of ink making between these two places.

Wen Jia (1499-1582), also known by his zi (designated name) Xiuchen and his hao (literary name) Wenshui, was native to Changzhou (nowadays Suzhou, Jiangsu province). Skilled in painting and calligraphy, he was the second son of Wen Zhengming. The painting depicts the Winding Stream Garden (qu shui yuan) of Dong Yiyang, an uncle of Dong Qichang. The garden was called "the Grand Mansion by the Huangpu River", located in the nowadays Guteng Park in Minhang district in Shanghai. The painting reflects the cultural interaction between Suzhou and Songjiang, as well as the migration of the cultural center to the banks of Huangpu River in Shanghai since the beginning of the Ming dynasty.

Du Qiong (1396-1474), also known by his zi (designated name) Yongjia and his hao (literary name) Dongyuan, was native to Wu County (nowadays Suzhou, Jiangsu province). At the end of the Yuan dynasty, the renowned scholar Tao Zongyi taught in Sijing in Songjiang and lived in a humble cottage in the South Village. Several years after Tao's death, Du Qiong painted this painting in memory of his teacher Tao Zongyi. In the inscription by Dong Qichang on this painting, he coined the term "Wu School Painting" for the first time, contextualize his painting in the art history, and pointed out that Tao was the "origin".

Ma Yu, also known by his zi (designated name) Yizhi and his hao (literary name) Chichi Daoren, was native to Jiading (nowadays Shanghai). He was the son of the court painter Ma Shi. A jinshi (a successful candidate of imperial civil-examination) in the 8^th year (1464) of the Tianshun reign, he was an official in the Department of Punishments. He lived in Suzhou in his late years and was a friend of Shen Zhou and his family. This painting was painted for Wang Jun, the Governmental Supervisor of Suzhou, Songjiang, Changzhou, and Zhenjiang. Ma Yu's meticulous and restrained ink brushstrokes is a precursor to Shen Zhou's style. He was a pioneer of the Wu School.

Pan En (1496-1582), also known by his zi (designated name) Ziren and his hao (literary name) Lijiang, was native to Shanghai. A jinshi (a successful candidate of imperial civil-examination) in the 2^nd year (1523) of the Jiajing reign, he was once a third-ranking official. The Pan family was then a noble family. His son Pan Yunduan built the Yu Garden for him. Feng Ziqian, also known by his name Feng Sui, was native to Songjiang. Pan En wrote this poem for celebrating Feng Sui's birthday, in which he praised Feng's reputation in poem and literary communication with others.

Zhu Zhizheng, also known by his hao (literary name) Sansong, was one of the "Three Zhus" of Jiading (nowadays Songjiang) in bamboo carving. The other two are his grandfather Zhu He and his father Zhu Ying. Zhu Zhizheng was skilled in painting landscape, bamboo, rock, and donkey. This painting depicts mountains in clouds with expressive brushstrokes. This is the only remaining painting of him. This album also includes works of the "Four Gentlemen of Jiading", namely Cheng Jiasui, Li Liufang, Lou Jian, which reflects the deeply rooted literary tradition of this region.

Shen Shao (1605-after 1681), also known by his zi (designated name) Erdiao, was native to Jiaxing of Zhejiang province and lived in Huating (nowadays near Jinshan and Fengxian in Shanghai). Shen Shao and the man in this portrait, Zhang Yuan (zi Ziyou), were both students of Zeng Jing. Portraying figures with the method of "ink bone", they were both outstanding painters of the Bochen School. Shen Bai of Huating wrote the title for the painting. Another painting of Shen Shao named Three Gentlemen of Jiading deeply influenced the portrait painters in Songjiang including Xu Zhang.

Zhang Yihu, also known by his zi (designated name) Youhong or Renzhai, was native to Huating (nowadays Jinshan in Shanghai). A jinshi (a successful candidate of imperial civil-examination) in the 15^th year (1658) of the Shunzhi reign, he was entitled as a judge in Yunnan and became a praised official. On his way back home after the government dismissed his position in 1662, he painted this painting for Wang Shizhen who became a jinshi in the same year as Zhang. Some of his landscape paintings show the style of the Songjiang School, some are in the Zhe School style.

Pan Yunduan (1526-1601), also known by his zi (designated name) Zhonglü and hao (literary name) Chong'an, was a native of Shanghai. A jinshi (a successful candidate of imperial civil-examination) of the 41^st year (1562) of the Jiajing reign, he eventually rose to the position of the Provincial Administration Commissioner of Sichuan. He built the Yu Garden, which, along with Wang Shizhen's Yan Garden, was celebrated as one of the most famous gardens in southeastern China. The Yuhua Studio in the Yu Garden served as a key venue for hosting guests. His diaries, totaling eight volumes in manuscript form, record his daily life from 1586 to 1601. These diaries frequently mention his collection of famous calligraphy and paintings, offering a glimpse into the social customs of late-Ming Jiangnan and the cultural interactions of the local gentry class.

Dong Qichang (1357-1434), also known by his zi (designated name) Xuanzai and his hao (literary name) Sibai, was native to Huating (nowadays Songjiang district in Shanghai). He was once appointed as the Nanjing Minister of Rites when Nanjing was the secondary capital of the Ming court, and obtained the honorary posthumous title "Wenmin". He appropriated the Zen Buddhism theory into painting theory. Thus, he divided painting into the Northern School and the Southern School. He advocated the Southern School as the orthodox of literati painting. He incorporated the styles from ancient masters and developed his own style, which is testified in this album. Dong Qichang painted this painting in the autumn of 1620 when he was travelling in Suzhou and Zhenjiang on a boat.

Zhang Xiaoxiang (1132-1169), also known by his zi (designated name) Anguo and his hao (literary name) Yuhu, was a native of Wujiang (present-day He county in Anhui province). A zhuangyuan (the top scorer in the imperial examination), he excelled in poetry, prose, and calligraphy, particularly known for his ci (poems following certain forms). He is regarded as a poet of the Haofang (bold and broad) School. This piece was once part of the collection of He Liangjun from Huating. He Liangjun was renowned for his vast collection of calligraphy and paintings and developed an art-historical perspective based on the notions of "professional paintings" and "amateur paintings" as the important painting theory of the "Southern and Northern Schools" was taking form in the late Ming, He Liangjun's theory anticipated key developments in Chinese art theory.

This is a painting by Zhao Kui (1186-1266), a member of the Southern Song royal family and a distinguished painter. During the late Yuan dynasty, the artwork circulated in the Wusong area, with inscriptions added by figures such as Yang Weizhen, Wang Feng, and Qian Weishan. Amidst the military upheavals in southeastern China at the end of the Yuan dynasty, Yang Weizhen, Qian Weishan, and a group of scholars sought refuge in Songjiang. Wang Feng, in particular, moved several times, residing in Qinglong Town, Hengmao, and Wunijing (now within present-day Qingpu, Songjiang, and Xuhui districts in Shanghai).

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). This scroll, written in large running script, demonstrates a robust and fluid style, representing a typical example of the early transformation in Zhao's calligraphy during his later years. The scroll was written for the Master of Zhizhai Studio, with the text authored by Duan Congzhou. In the early Qing dynasty, it was part of the collection of Wang Hongxu (1645-1723), a native of Jinshan (now part of Shanghai). It later came into the collection of Xu Zishan of Shanghai.

Lu Shen (1477-1544), also known by his zi (designated name) Ziyuan and hao (literary name) Yanshan, was a native of Shanghai (now Lujiazui, Pudong). This surviving album records his acquisition of 89 pieces of notable calligraphy and paintings within a span of three months. In mid-Ming Shanghai, art collection activities were primarily centered around prominent families, represented by the "Gu, Lu, Zhang, and He" families. By this period, the areas for collection activities in Shanghai went beyond the late Yuan boundaries to encompass both sides of the Huangpu River.

Wen Congjian (1574-1648), also known by his zi (designated name) Yanke and hao (literary name) Zhenyan Laoren, was a native of Changzhou (present-day Suzhou, Jiangsu province). He was the great-grandson of Wen Zhengming and the grandson of Wen Jia. He was skilled in painting landscapes, flowers, birds, figures, and horses, inheriting the artistic tradition of his family, with a simple and elegant style. At the end of this scroll, an additional sheet in running script features the text of Yan Yanzhi's Zhe-Bai Ma Fu (Prose on a Red and White Horse). The painting was later part of the collections of three prominent Shanghai connoisseurs: Jin Wangqiao, Wu Hufan, and Qian Jingtang.

Ye Xin, also known by his zi (designated name) Rongmu, was a native of Huating (now part of Shanghai). Active during the Shunzhi and Kangxi reigns, he lived in Jinling (present-day Nanjing, Jiangsu Province) and became one of the "Eight Masters of Jinling". His landscapes were renowned for their delicate and subtle qualities, contributing to the diversity of the Jinling painting scene. This album primarily depicts spring and summer scenes, evoking a tranquil and ethereal atmosphere. It was once part of the collection of Wang Qiumei, a prominent Shanghai industrialist.

Jean-Auguste-Dominique Ingres (1780-1867) was a French Neoclassical painter. This artwork was authenticated as an original by Xu Beihong and others. The writing on the front, "à Rome", is likely added by a 19th-century French painter influenced by Ingres. The writing on the back, "Ingres à Rome", was probably added by an art dealer. This piece serves as early evidence to modern Chinese collecters' attempts to collect original works by European masters.

Artist: Zhang Chongren (1907-1998)

Date: Modern

Dimensions: Length 70 cm, Width 70 cm, Height 200 cm

Material: Bronze

Collection of the Shanghai History Museum

Gift of Dong Mujie

Wu Changshuo (1844-1927), initially named Jun, later changed to Junqing, with zi (designated names) Changshuo or Cangshi, and hao (literary name) Foulu, was a native of Anji (nowadays Huzhou, Zhejiang) who resided in Shanghai. He was skilled in calligraphy, painting, and seal carving. He was a leading figure in the Shanghai School of painting and one of the "Four Masters of the Shanghai School". One of his frequent subjects of painting was peach. Wu incorporated the calligraphic features of ancient bronze script and steles into his bold and expressive flower-and-bird paintings, creating a rugged and majestic style that brought new possibilities to the genre.

Ren Yi (1840-1895), initially named Run with zi (designated name) Xiaolou, later changed his zi to Bonian. He was a native of Shanyin (nowadays Hangzhou, Zhejiang). He was skilled in painting figures, flowers, and birds and was one of the "Four Masters of the Shanghai School" as well as one of the "Four Rens of Shanghai". Hu Yuan (1823-1886), with zi (designated name) Gongshou, was from Huating (now Songjiang, Shanghai). He excelled in painting landscapes and flowers and was a pioneer of the Shanghai School. Gao Yongzhi (1850-1921), who served as the president of the "Yu Garden Painting and Calligraphy Society", commissioned this painting. In this work, Ren Yi painted the figures, while Hu Yuan completed the background scenery.

Huang Binhong (1865-1955), with his zi (designated name) Pucun and hao (literary name) Binhong, was a native of She county in Anhui province. He resided in Shanghai for 28 years and taught at institutions such as the Shanghai Art Academy. Building on a deep understanding of traditional brush and ink techniques, Huang pioneered innovations in Chinese painting. This particular work was likely inspired by his study of Song and Yuan masterpieces during his time at the Palace Museum. The painting, characterized by its dense and rich composition, represents a prime example of Huang's mature "Black Binhong" style.

Pan Tianshou (1897-1971), originally named Tianshou with a different character for "shou", is also known by his zi (designated name) Dayi and his hao (literary name) Ashou, native to Ninghai, Zhejiang province. Pan taught at institutions like Shanghai Art Academy, and later became the director of State Art Academy (nowadays China Art Academy). He obtained recognition and instructions from Wu Changshuo. He further developed the Chinese painting based on the boldly expressive style (da xieyi). He painted this painting with finger. The rocks are depicted with strong lines to show its texture, as the toads are painted with dynamism, which makes the composition creative and modern.

Ren Xiong (1823-1857), with zi (designated name) Weichang and hao (literary name) Xiangpu, was a native of Xiaoshan (nowadays Hangzhou, Zhejiang province). He began studying painting at a young age and later lived in Suzhou and Shanghai, making a living by selling his art. Ren was one of the "Four Rens of Shanghai" and one of the "Three Xiongs of Shanghai" in the Shanghai School of painting. This painting depicts the estate of the renowned late Qing poet and painter Zhou Xian. It took nearly three years to complete, featuring a composition that is both rich and intricate. The brushwork is meticulous, with vibrant colors, blending realism with a decorative flair.

Li Shutong (1880-1942), with zi (designated name) Xishuang, had an ancestral home in Pinghu in Zhejiang province, but he was born in Tianjin. In 1898, after the failure of the Hundred Days' Reform, he sought refuge in Shanghai and later studied abroad in Japan. Li was a man of profound artistic talent, particularly noted for his calligraphy. This piece, marked by its firm strokes and solemn style, was created in the winter of 1918 for Xia Mianzun. In the autumn of that year, Li became a Buddhist monk in Hangzhou, taking the name Yanyin and the monastic name Hongyi. He is widely revered as "Master Hongyi".

Rabindranath Tagore (1861-1941) visited Shanghai three times, in March and September of 1924 and again in 1929. During these visits, he developed a deep friendship with the couple Xu Zhimo and Lu Xiaoman. Tagore drew this casual sketch of mountain during his first attempt to use a Chinese brush at their home, where he left the sketch as a memento for the couple. Lu Xiaoman inscribed the painting, mistakenly noting that the visit took place in 1927. It should have been during one of his earlier visits.

Gu Bingxin (1923-2001), a native of Gucun in Baoshan, Shanghai, was skilled in caricatures, woodblock prints, and illustrations. He once served as the head of the Chinese Painting Department at the School of Fine Arts of the Shanghai University. This particular work consists of eight illustrations, four of which are housed in the Shanghai Museum. Published in 1959 by the Shanghai People's Fine Arts Publishing House, the series showcases the artist's exceptional talent for capturing the features of the classic characters from Lu Xun's writings and are considered representative examples of his colored woodblock print illustrations.

Guan Liang (1900-1986), also known as Guan Lianggong, was a native of Panyu (nowadays Guangzhou, Guangdong province) who resided in Shanghai. He studied oil painting in Japan and, upon returning to China, taught at institutions such as the Shanghai Art Academy. Later in his career, he shifted to ink painting, focusing on figures from traditional Chinese drama, creating a unique and innovative style. The artist inscribed a line from Guo Moruo. Guo had written this line for Guan's painting Lu Zhishen Drunkenly Beating the Temple Gate, which also responds to the subject of this painting. The dedication on this painting is addressed to "Suping", referring to Zhang Suping (1913-1987).

Xu Beihong (1895-1953), originally named Shoukang, was a native of Yixing, Jiangsu, and served as the president of the Central Academy of Fine Arts. Before studying in France, Xu studied under Kang Youwei in Shanghai. This painting was created during Xu's 1926 visit to Shanghai after returning from Paris to visit his family. During this time, Xu attended a banquet hosted by the literary and artistic community at Kang's invitation, where he showcased his work. Kang highly praised Xu's paintings, stating that Xu, as a painter, "stands unrivaled in China, with no equal".

Yan Wenliang (1893-1988), a native of Suzhou in Jiangsu province, studied oil painting in Shanghai before furthering his education in France. He was one of the co-founders and the principal of the Suzhou Academy of Fine Arts. This painting, while based on a realistic approach, incorporates Impressionist techniques in its depiction of light and shadow to portray the night scene of the Huangpu River, with clouds and a bright moon. Although it is an oil painting, Yan signed and sealed the work in the traditional Chinese manner, reflecting the combination of Western and Chinese artistic traditions.

Lin Fengmian (1900-1991), initially named Fengming, was a native of Mei county in Guangdong province. The docks of the Huangpu River in Shanghai marked both the starting and ending points of his studies in France. He worked as the president of the National Academy of Art (now the China Academy of Art) and later as a painter at the Shanghai Chinese Painting Academy, residing in Shanghai for 27 years. Throughout his life, Lin was dedicated to exploring the integration of Chinese and Western art, and this painting serves as an example of this approach.

Chen Baoyi (1893-1945), originally from Guangdong, was born in Shanghai. In his early years, he studied painting at the Scenic Painting Training Institute in Shanghai and later went to Japan for further studies. After returning to Shanghai, he taught oil painting at institutions such as the Shanghai Art Academy. This portrait was created in the later years of the artist's life, around 1943. The work shows influences from both Impressionism and Chinese New Realism, with natural brushstrokes, vibrant colors, and a graceful style.

Zhang Longji (1929-2007), a native of Sheng county in Zhejiang province, served as a teacher at institutions such as the Shanghai Art Academy and as a painter at the Shanghai Oil Painting and Sculpture Institute. He was also an influential oil painting theorist. This painting, created in 1959, portrays a young female worker focusing on her work, reflecting the dedication of ordinary people to the development of People's Republic of China. The piece captures the enthusiasm and energy of the era and was featured in the National Art Exhibition that same year.

Zhang Daqian (1899-1983), whose given name was Yuan and who went by his hao (literary name) Daqian, was a native of Neijiang in Sichuan province. This painting was completed in the spring of 1947, after Zhang had returned from his journey to Dunhuang, where he had extensively studied and copied the Tang dynasty murals of the Mogao Caves. His exposure to these ancient works profoundly influenced his style, leading to significant artistic transformation. This piece, executed using the outline and color-filling technique on a gold silk background that forms a contrast with the red lotuses and green leaves, exudes a sense of grandeur and elegance. It represents his mid-career synthesis of classical and contemporary elements. In the summer of the same year, Zhang gifted this painting to the Shanghai connoisseur Wu Hufan, who was also known for painting lotus.