Lucidity in a Prosperous Era: Guangdong Paintings of the Qing Dynasty

Figure Painting

Vibrant Variety: Figure Painting

During the early Qing dynasty period in Guangdong, figure painting was rare, with only a few artists – such as monk painters Dashan and Hanyi – producing occasional works. Their surviving examples are scarce.

From the mid-Qing dynasty onwards, however, the genre experienced a period of vigorous development. First came painters like Zheng Run and Dekun, who excelled at depicting historical figures. Then the two artists known as the Two Sus – Su Liupeng and Su Renshan – emerged. Su Liupeng was noted for his historical and folk figures while Su Renshan was known for figures in simplified style. Both made significant contributions not only to the Lingnan art scene but also to the broader history of Qing figure painting.

Among the important Qing dynasty figure painters, Su Liupeng drew inspiration from Huang Shen of the ‘Yangzhou School’, while Su Renshan was influenced by the Manual of the Mustard Seed Garden (Jieziyuan Huapu), compiled during the early Qing dynasty. Jiang Lian admired Chen Hongshou’s style, whereas Wang Pu and Du Heng studied the Song and Yuan masters. Cui Qin followed Hua Yan’s distinctive techniques and styles. These artists’ varied approaches to art and learning resulted in unique and distinctive styles, each with its own subject matter and creative approach. These diverse styles encompass meticulous and robust strokes and techniques. Historical figures appeared alongside contemporary concerns. Social manners and literary sensibilities coexisted. Together, these traits formed the core character of figure painting in Guangdong during the Qing dynasty.