The leaf bears no inscription or seal of the artist. The hands of this Buddha are raised in Abhaya and Varada Mudras position. The Buddha sits on the lotus seat. There is a halo behind the Buddha's head. The lotus seat is adorned with a curtain above. The figures' faces look dignified, and the drapery of their clothing is depicted with smooth and round brushstrokes, which reflects the style of early figure painting. The Tibetan manuscripts are on both sides of the painting.

Zhu Rui, a native of Hebei, served in the Imperial Art Academy during the Xuade reign (1119-1125). Zhu Rui was adept at landscapes and particularly excelled in depicting mules, scenes of hunting in snow and grinding wheels. The lower right corner of this painting bears the signature "Zhu Rui'' that identifies it as a rare and authenticated surviving work by the artist. The trees and rocks of this painting are in Guo Xi's style. It depicts three oxen pulling a cart through a stream, while another ox-drawn cart is partially visible on a mountain path, creating a lively narrative scene. This piece was once part of the collection of Geng Zhaozhong during the Qing dynasty.

Mi Youren (1074-1153, or 1086-1165), or Mi Yinren, is also known by his zi (designated name) Yuanhui, and his hao (literary name) Lanzhuo Laoren in his later life. His ancestral home was in Taiyuan in Shanxi, and he later moved to Runzhou (present-day Zhenjiang, Jiangsu province). As the eldest son of Mi Fu, he co-founded the "Mi Family Misty Mountains" style with his father. This painting was created in the fifth year (1135) of the Shaoxing era for Zuo Dagong. It is exceptionally rare, as it bears inscription by 16 distinguished scholars, including Zhu Xi of the Southern Song dynasty.

Wang Mian (1287-1359), also known by his zi (designated name) Yuanzhang and hao (literary name) Kuaiji Shannong, was a native of Zhuji in Zhejiang. He excelled in painting ink plum blossoms, developing a distinctive style of his own. This artwork portrays plum branches cascading downward with numerous buds and blossoms. It was created in the 15^th year (1355) of the Zhizheng era, when the artist was 69 years old. The painting bears five poems inscribed by the artist himself. The mounting margins and surrounding areas include responding poems by Xu Lin, Wang Wei, Zhu Yunming, Lu Shen, Wen Zhengming, Tang Yin, and Wang Chong of the Ming dynasty.

Ni Zan (1301-1374), originally named Ting, a native of Wuxi in Jiangsu, is also known by his zi (designated name) Yuanzhen and his hao (literary name) Yunlin. He was one of the "Four Masters of the Yuan". This painting was created for Zhou Bo'ang. It depicts trees and rocks, with a landscape from a horizontal perspective in the upper section and two layers of distant mountains. The brushwork is refined, radiating vitality. The artwork bears four inscriptions by the artist himself and is considered one of Ni Zan's most exquisite works. It was completed in the 24^th year (1364) of the Zhizheng era, when the artist was 59 years old.

Hua Zuli (active in the 14^th century) is known by his zi (designated name) Tangqing, with his native place unknown. He specialized in painting figures. This is his only surviving work. This painting portrays Laozi and his disciples: Yin Xi, Wenzi (Xin Xing), Geng Sangchu, Nan Rongchu, Yinwen, Shi Chengqi, Cui Qu, Bai Ju, Liezi (Lie Yukou) and Zhuangzi (Zhuang Zhou). Wu Bing wrote their biographies in the third year (1326) of the Taiding era.

Lü Ji (1477-?), also known by his zi (designated name) Tingzhen and his hao (literary name) Leyu, was a native of Siming (present-day Ningbo, Zhejiang province). He worked in the Renzhi Palace during the Hongzhi reign (1488-1505) and held the post of Imperial Guard Commissioner. He specialized in painting birds and flowers, mastering both gongbi (meticulous brush) and xieyi (freehand) styles. This work depicts rocks and flowing streams with two branches of plum blossoms and three different species of birds, all rendered in a graceful and leisurely manner.

Qiu Ying (?-1552) is also known by his zi (designated name) Shifu and his hao (literary name) Shizhou. A native of Taicang in Jiangsu, Qiu Ying lodged in Suzhou. He was skilled in landscape, figure, and jiehua (architecture painting), particularly excelled in imitating. His imitation is almost the same as the original painting. He is recognized as one of the "Four Masters of the Ming Dynasty". This painting depicts a spacious mountain villa where a figure sits in leisure among trees and bamboo. The brushwork is exceptionally detailed. This is one of his masterworks. It bears the signature "Made by Qiu Ying, Shifu", and includes inscriptions by Wang Chong, Wen Zhengming, and Peng Nian. The work was later included in the Qing imperial collection.

Shen Zhou (1427-1509) is also known by his zi (designated name) Qinan and his hao (literary names) Shitian and Baishiweng. A native of Changzhou (present-day Wu county, Jiangsu province), Shen Zhou was adept in painting landscape, flower and bird. He is one of the "Four Masters of the Ming". This handscroll exhibits a full composition, executed with sparse yet vigorous brushwork and characterized by expressive ink washes. The work conveys a powerful, dynamic spirit, standing as a masterwork from the artist's late period.

Tang Yin (1470-1523) is also known by his zi (designated names) Bohu and Ziwei, his hao (literary name) Liuru Jushi. A native of Wu county (present-day Suzhou, Jiangsu province), Tang Yin was a student of Shen Zhou and Zhou Chen, and he was one of the "Four Masters of the Ming". This painting depicts Huangmao Island in Lake Tai. It portrays towering rocks beside the river bank, where a figure is seated. Qiu Shunzi inscribed on a separate paper mounted alongside. This work is a masterpiece from the artist's early period and includes colophons by Zhang Ling, Zhu Yunming, and others.

Xu Wei (1521-1593) is also known by his zi (designated name) Wenchang and his hao (literary names) Tianchi and Qingteng in his later life. A native of Shanyin (present-day Shaoxing, Zhejiang province), Xu Wei was adept in painting landscapes, figures, flowers, birds, insects and fish with simple strokes. Xu Wei pioneered the ink xieyi (freehand) style in flower-and-bird paintings. This painting depicts two lotus blossoms and three lotus leaves, interspersed with reeds. The ink washes are meticulous composed. This is a refined work of the artist.

Dong Qichang (1555-1636), also known by his zi (designated name) Xuanzai and his hao (literary name) Xiangguang, was a native of Huating (present-day Songjiang, Shanghai). He was adept in calligraphy, painting landscapes, and authenticating artworks. This album was created by Dong Qichang in the 44^th year (1617) of the Wanli reign for his disciple Wang Shimin when Dong was 63 years old. In it, he emulated the styles of renowned masters from the Song and Yuan dynasties, inscribing selected poetic lines with refined and precise brushwork and lustrous ink. It was later authenticated and collected by Wang Shimin's son, Wang Yan, among others.

Ding Yunpeng (1547-1628) is also known by his zi (designated name) Nanyu and his hao (literary name) Shenghua Jushi. A native of Xiuning in Anhui, Ding Yunpeng was famous for paintings of figures, images of Buddha and also landscapes and flowers. This painting demonstrates meticulous brushwork, precise lines, and a palette of archaic brilliance, fully revealing the artist's masterful skill.

Chen Hongshou (1598-1652) is also known by his zi (designated name) Zhanghou and his hao (literary name) Laolian and later hao Huichi. A native of Zhuji (in present-day Shaoxing) in Zhejiang, Chen Hongshou was renowned for paintings of figures, landscapes, flowers and birds. He was a student of Lan Ying. This painting depicts an old plum tree in full bloom, with a small sparrow perched on one of its branches. Adjacent to the tree are an elegant rock, a cluster of slender bamboo, and a spray of red leaves.

Gong Xian (1619-1689), also named Qixian, is also known by his zi (designated name) Banqian and hao (literary name) Banshan Yeren. A native of Kunshan in Jiangsu, Gong Xian lived in Shangyuan (present-day Nanjing, Jiangsu province). He was the leading painter of the "Eight Masters of Nanjing" and adept in landscape painting and ink usage. This painting employs layered ink washes to depict the misty landscape of Jiangman. The ink is lush, while the coloring is restrained and elegant, which creates a profoundly serene atmosphere. This was painted in the 23^rd year (1684) of the Kangxi reign when he was 66 years old.

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 vice minister of Taichangsi (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 leading painter of the "Four Wangs" and one of the "Six Masters of Early Qing". He painted after Huang Gongwang's tradition frequently, but on this painting, he inscribed that this painting was painted after Wang Meng's style, which is relatively rare. This is painted in the fourth year (1665) of the Kangxi reign, when the painter was 74 years old.

Wang Yuanqi (1642-1715), also known by his zi (designated name) Maojing and hao (literary names) Lutai and Shishi Daoren, was a native of Taicang in Jiangsu, and one of the "Six Masters of the Early Qing". This painting portrays layered peaks and luxuriant forests, with a composition and texture strokes similar to Dwelling in the Mountains on a Summer Day. It demonstrates his approach of learning from antiquity without being constrained by it. The work was created in the 40^th year (1701) of the Kangxi reign, when the artist was 60 years old.

Yun Shouping (1633-1690), originally named Ge, is also known by his zi (designated name) Shouping and his hao (literary name) Nantian. A native of Wujin (present-day Changzhou, Jiangsu province) and one of the "Six Masters of the Early Qing", he excelled in landscape and flower painting. The composition presents two banks along the river. In the foreground, trees scatter on the slope; in the background, the streams flow down the mountains on which withered trees and bamboo stand. The atmosphere is sparse, tranquil, and rendered with a deliberate simplicity. The painting echoes the style of the Yuan-dynasty master Cao Zhibai. This work was created in the 11^th year (1672) of the Kangxi reign, when the artist was 40 years old.

Fa Ruozhen (1613-1696) is also known by his zi (designated name) Hanru and his hao (literary name) Huangshi. A native of Jiaozhou in Shandong, Fa Ruozhen was skilled in landscape painting. This painting captures layered peaks enveloped in mist, merging grandeur with ethereal grace. It is a representative work of his late years. The work was created in the fourth year (1685) of the Kangxi reign, when the artist was 73.

Hongren (1610-1664), originally named Jiang Tao and later became a monk in the early Qing dynasty. 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. This album depicts varied trees, dwellings, layered rocks, and cascading streams. It integrates styles from Song, Yuan, and Ming masters, with delicate dotting and shading, exhibiting a natural and brisk style.

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". The painting depicts lush plants and forests with dense dots and shading strokes, evoking a classical grandeur. This painting was painted in the 20^th year (1681) of the Kangxi reign when the artist was 40.

Jin Nong (1687-1763) is also known by his zi (designated name) Shoumen and hao (literary name) Dongxin. A native of Renhe (present-day Hangzhou, Zhejiang province), he lived in Yangzhou for a long time. Known as one of the "Eight Eccentrics of Yangzhou", he was skilled in painting flowers, plants, and Buddhism imagery. The painting depicts Amitāyus leaning on a staff under a tree, portrayed in a simple, archaic manner. The brushwork alternates between dry and moist strokes, with vigorous lines that evoke the robust quality of ancient bronze inscription. This painting was painted in the 24^th year (1759) of the Qianlong reign, when the artist was 73.

Zheng Xie (1693-1765) is also known by his zi (designated name) Kerou and his hao (literary names) Banqiao, Hongxue Shanqiao. A native of Xinghua in Jiangsu, Zheng Xie was renowned for paintings of orchid and bamboo and was one of the "Eight Eccentrics of Yangzhou". The painting depicts several ink orchids, with leaves rendered in dark ink and flower stems executed in lighter brushwork. The approach integrates calligraphic techniques into painting, exhibiting a vivid and resonant vitality.

Jiang Tingxi (1669-1732), also known by his zi (designated name) Yangsun and Youjun, as well as his hao (literary name) Nansha and Qingtong Jushi, was a native of Changshu in Jiangsu. Skilled in calligraphy and painting, he employed free-hand brushwork in still-life compositions, achieving vibrant and dynamic expressions. The artist occasionally created ink-wash paintings of floral branches as well as small-scale works depicting orchids and bamboo. This album portrays plants and flowers from various seasons in diverse forms, combining meticulous details with expressiveness. The use of mogu ("boneless", or without outline) technique imbues his works with an exquisite and firm vitality.

Fei Danxu (1802-1850), also known by his zi (designated name) Zitao and hao (literary name) Xiaolou, was a native of Wucheng (present-day Huzhou, Zhejiang province). He specialized in portraiture and was particularly renowned for his depiction of court ladies in landscaped settings. He also skilled in landscapes and flower painting. This work draws inspiration from Wen Jia's Zhong Kui in a Wintry Grove. The painting depicts Zhong Kui standing under the withered trees with his young servant as streams flowing down the hills in the background. Zhong Kui, accompanied by a young servant, stands beneath a tree. The brushwork is exquisite, with a clean and refined colouring showcasing the charm of literati painting.

Ren Xiong (1823-1857), also known by his zi (designated name) Weichang and hao (literary name) Xiangpu, was a native of Xiaoshan in Zhejiang. He was a master of diverse subjects, including figures, landscapes, flowers, birds, insects, fish, and animals. This scroll portrays the ancient mythological goddess, the Goddess of the Xiang River. Adorned in elegant robes and holding a feather fan, she stands amidst drifting fallen leaves. The painting follows the style of Chen Hongshou, characterized by an archaic aesthetic.

Ren Xun (1835-1893), also known by his zi (designated name) Fuchang and Shunqin, was a native of Xiaoshan, Zhejiang. He is the younger brother of Ren Xiong. His figure paintings followed the style of Chen Hongshou. Ren was especially skilled in painting flowers and birds. This work depicts objects such as a butterfly fan, pinwheel, and gourd, rendered in freehand style. The brush lines are firm, and the coloring is refined and elegant. While capturing the subtle charm of an autumn scene, the painting also incorporates symbolic motifs—butterflies and gourds—to convey auspicious wishes for good fortune and longevity.

Zhang Shanzi (1882-1940), named Ze, also known by his zi (designated name) Shanzi and hao (literary name) Huchi, was a native of Neijiang, Sichuan. He is the elder brother of Zhang Daqian. He excelled in painting, especially skilled in depicting tigers. Zhang Daqian (1899-1983), originally named Zhang Yuan and widely known by his hao (literary name) Daqian, was a native of Neijiang and a master of landscapes, birds and flowers, and figures. This collaborative work portrays a reclining tiger and a lady. The painting combines meticulous details with freehand expression, creating lifelike forms.

Qi Baishi (1864-1957), originally named Qi Chunzhi and later Qi Huang, is also known by his zi (designated name) Binsheng and hao (literary name) Baishi. He was a native of Xiangtan, Hunan, with ancestral roots in Dangshan (present-day Suzhou, Anhui province). A master of seal carving, calligraphy, and painting, he pioneered a unique style. This work shows a frame of hyacinth beans with two crickets below. The artist balances wet and dry ink skillfully, using vigorous brushwork to depict this lighthearted scene. The scroll was painted in 1936, when the artist was 73.

Xu Beihong (1895-1953), originally named Xu Shoukang, was a native of Yixing, Jiangsu (present-day Wuxi). He was skilled in figures, animals, and bird-and-flower painting, especially good at painting horses, and advocated for the integration of Chinese and Western styles. This painting depicts a playful scene of a cat and butterfly. The motif of a cat and butterfly is a visual pun on the homophonic phrase mao die, which signifies longevity. This scroll was painted in 1943 as a birthday gift for a friend of Xu in the Qingcheng Mountain in Sichuan. The artist was 49 at the time.

This ink-and-wash landscape with figures features mountains and rocks rendered with broad brushstrokes and wet ink, where texturing and shading blend harmoniously, creating a misty, atmospheric effect. The figures' expressions are vivid, and the contours of their garments are sharply defined with bold, fluid lines, reflecting the style of Wu Wei, a painter of the Zhe School in the Ming dynasty.

Xie Shichen, also known by his zi (courtesy name) Sizhong and his hao (literary name) Chuxian, was a native of Wu County (present-day Suzhou, Jiangsu). Skilled in landscape painting, he was particularly adept at composing large-scale works. His brushwork and ink techniques drew from both the Wu and Zhe Schools, forming a unique style. This painting depicts a scene of traveling through a winter forest. The brushwork is rustic and vigorous, evoking a desolate and melancholic atmosphere. It was created in the Yimao year of the Jiajing era (1555), when the artist was sixty-nine years old.

Li Yin, also known by his zi (courtesy names) Jinshi and Jinsheng and his hao (literary name) Shi'an and Kanshan Yishi, was a native of Qiantang (present-day Hangzhou, Zhejiang). She was a concubine of Ge Zhengqi. In flower-and-bird painting, she followed the style of Chen Chun and specialized in depicting wild geese among reeds. This painting depicts wild geese roosting in a reed bed. The brushwork is vigorous yet moist, entirely devoid of the refined, courtly air often associated with female artists. The painting was created in the Renyin year (1662), when the artist was forty-seven years old.

Min Zhen, also known by his zi (courtesy name), Zhengzhai, was a native of Nanchang, Jiangxi. He excelled in figure painting, following the style of Wu Wei. His brushwork was ethereal yet powerful. Also skilled in landscape painting and seal carving, he was one of the Eight Eccentrics of Yangzhou. This ink-and-wash painting depicts the Eight Taoist Immortals in a drunken stupor. Their endearingly comical forms are rendered with clear yet richly substantial brushwork. The work was created in the Dingwei year of the Qianlong era (1787), when the artist was fifty-eight years old.

Fei Danxu, also known by his zi (courtesy name) Zitiao and his hao (literary names) Xiaolou, Ouweng, etc., was a native of Wucheng (present-day Huzhou, Zhejiang). He excelled in figure, landscape, and flower-and-bird painting. The figures in this painting are depicted with dignified expressions and graceful, leisurely postures, evoking the classical style of the Song dynasty. The lines are light, lively and unrestrained, and the colors are fresh and vibrant. The work was created in the Guimao year of the Daoguang era (1843), when the artist was forty-two years old.

Wang Zhen, also known by his zi (courtesy name), Yiting and his hao (literary name) Bailong Shanren, was a native of Wuxing (present-day Huzhou, Zhejiang) who settled in Shanghai. He was a founding member of the Shanghai Tijin (the literati inscribing on each other's lapel) Society of Epigraphy, Calligraphy, and Painting. As an artist, Wang excelled in both calligraphy and painting. He was closely associated with Wu Changshuo, and his calligraphy and painting were deeply influenced by Wu. This painting features bold, vigorous brushwork and ink, conveying a strong sense of exuberance and rusticity. It was created in the Guihai year (1923), when the artist was forty-eight years old.

Puru of the Aisin Gioro clan, also known by his zi (courtesy name) Xinyu and his hao (literary names) Xishan Yishi, Xihuang Shangren, Songchao Jushi, etc., was a member of the Qing imperial family. He excelled in calligraphy and painting and was particularly renowned for his Northern School landscapes. In this painting, he claimed to draw inspiration from Wang Meng, Huang Gongwang, and Wu Zhen, but his lively and vigorous brushwork retains much of the Courtly Style of the Southern Song.

Zhang Ruitu, also known by his zi (courtesy name) Changgong and his hao (literary name) Ershui, Guoting Shanren, etc., was a native of Jinjiang, Fujian. He rose to the position of Minister of Rites. As a painter, he showed exceptional skills; as a calligrapher, he was ranked alongside Dong Qichang, Xing Tong, and Mi Wanzhong: they were collectively referred to as the Four Masters of the Late Ming. This work features calligraphy of a poem by Yu Xin (courtesy name Zishan), written in the Wuyin year of the Chongzhen era (1638), when the calligrapher was sixty-nine years old. It exemplifies the spontaneous, unrestrained, and free-spirited style characteristic of Zhang's later years.

Chen Yongnian was active during the Jiajing and Wanli eras. A native of Dantu (present-day Zhenjiang, Jiangsu), his zi (courtesy name) was Congxun, and his hao (literary name) was Lingfeng Shanren. He excelled in calligraphy and connoisseurship, amassing a large number of masterpieces from the Song and Yuan dynasties. This hanging scroll features cursive script with continuous brush movement, fluid transitions, and strokes of balanced strength and delicacy, resulting in a work that is both unconventional and charming.

Wang Duo, also known by his zi (courtesy name) Juesi and his hao (literary names) Shiqiao, Songqiao, and Chi'an, was a native of Mengjin (present-day Luoyang, Henan). He served as Minister of Rites in Nanjing of the Ming dynasty; during the Qing dynasty, he served as Minister of Rites and was posthumously honored with the title Wen'an. A master calligrapher proficient in all styles, he was highly esteemed in his time. This work, executed in running script, draws inspiration not only from Wang Xizhi and one of his sons, Wang Xianzhi but also from Mi Fu. It features a powerful momentum and a bold, rugged spirit, showcasing a unique style.