AN IMPERIAL ALBUM OF FLORAL PAINTINGSQING DYNASTY, 18TH CENTURY |

ink on paper, comprising thirty double-pages between hard wood covers of a rich reddish-brown colour, the front cover incised with a four-character inscription reading Shouyu hengchun ('Longevity as the Evergreens') and filled in with gilt, with varying paintings of luxuriant blooms borne on lush foliage and superbly and skilfully rendered in bright and pastel hues, all between two sets of two double-pages decorated with auspicious motifs, including bats, peaches and lingzhi blooms

The Qing dynasty witnessed the peak period of court painters, whose practices differed from poet-officials and painter-officials. Court painters were apprenticed to professional calligraphers and painters and drew materials from festivals, architecture, ornament and furnishings. Their works, mostly delicate and elegant, followed the legacy of the Southern Song dynasty. Yun Nantian initiated a natural and unrestrained style of court flower paintings, whose works vividly convey both form and spirit and demonstrate the interests of scholars. His painting style deeply influenced the renowned painters, such as Jiang Tingxi, Yu Xing and Dong Gao. All of their works are characterised by bright colours without independent lines, exquisite brushwork and steady strokes. This painting is called 'Longevity as the Evergreens'. The famous painter, Dong Gao, painted under the same title that was included in Shiqu Baoji (sanbian) [The Precious Collection of the Stone Canal Pavilion (Third Volume)]. Although this was not Dong Gao's work, his influence is obvious. Looking closely at Dong Gao's works which are preserved in the National Palace Museum, Taipei, especially Albums of Flowers, there are many similarities, including theme, coloring, structure, composition, brush strokes. This work is supposed to be created by someone imitating Dong Gao. But the identity of the painter, whether he was a court painter at the same period as Dong Gao, or from a later period, remains unknown.