Gouache on paper landscape, depicting a daily scene within aresidential setting of a courtyard surrounded by buildings and agarden. The colour palette is similar to the previously describedwork, the dense green of the trees standing out from the sandcoloured background. The architectural elements are defined byblack and brown shades from which standout red, green and salmonornamentations. The figures are attired in blue, light green, redand pink with black hats.The perspective is almost strict, with implied horizon lineseparating sky from earth. This line is marked by the colour andoutline of the various elements, such as the three canopies, thelarge rocky mountain and the buildings roofs.In the background three imposing, subtly blue colouredmountains, foretell a building cluster of small roomed homes thatillustrate the link between the intuitive method and the strict perspectiverules of European landscape painting.The scene seems to represent part of a sìhéyuàn 四合院—amansion or family home with a courtyard, around which the variousbuildings are organized. The residential complex, encircled bya marble balustrade includes three structures. Inside the tall mainhouse without an outer wall, it is possible to see two chairs. Nextto it, a lower structure is identified by a red paper sign above thedoor inscribed (福—Fu),1 blessing and well-wishing all the residents.At the door, a woman holding a transparent fan is depicted in a Cheongsam, a two piece Manchu costume of long sleeved pink tunicand high straight collar and decorative fastenings, worn under ablue jacket of side openings.Towards the back of the composition a walled garden withcircular or ‘Moon’ gate, a traditional architectural detail in noblerand wealthier homes. This type of access functions as a barrier inthe passage into a microcosm that recreates ideal nature propitiousto contemplation, in a magic setting combining landscape,art and spirituality. Within the garden a two storey building withbamboo trellis and, on the upper floor, a shuttered window thatacts as a viewpoint.The central scene unrolls in the large courtyard where twomandarins, or high ranking officials of long braids and Manchu attire,converse at a table. One seems to be sipping tea while the othersmokes an opium pipe. Close by, an elegant female figure wearinga Cheongsam and carrying a child, stands out in her lotus shoes.2On the path leading to the main house two servants carryingtrays, one with tea cups, most certainly for the high rankingofficials. They are looked at by a scholar carrying a feather fan andholding a child by the hand.A crane, a symbol of longevity and wisdom highly relevantin Chinese culture, often embroidered on imperial mandarin’sattire, walks peacefully across the scene.
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1 These good omen signs are normally displayed around Chinese New Year, with well-wishing messages for the year to come.
2 Lotus shoes were linked to high social status—the tradition required that girl’s feet were bandaged from birth, so that they would not grow beyond 10 cm, the ideal size to ensure that agood marriage was found. It is said that this practice originated amongst the court dancers at the onset of the Song Dynasty (960–1279).