Of identical dating to the previous works this gouache on paperpainting depicts a riverscape with a dock and various buildings.The composition is defined by an oblique line separatingland and the water course, orientated from the dock on the rightto the snow covered mountain range on the left.Of identical colour palette to the other paintings, this workis defined by a sand coloured background, albeit with more intenseuse of saturated colours in detriment of white. The late afternoonlight, opposed to the water flow, reinforces the colour shine.A staircase leads to the dock and the courtyard with threebuildings and various male figures. The wooden pavilion built onthe bank follows the model of indigenous residential structures(Diao jiao lou) built on stilts, typical of ancient estuarine villages.On the open water side, two officials seem to control theriver traffic and trade, with the purpose of collecting due taxesthat will fill the emperor’s coffers. On the side wall a double trellis,under a red sign inscribed 想买 Xiang mai, welcoming visitors andwishing them luck.Towards the back of the yard two white painted brick buildingson a socle. The black on red inscriptions around the doorframes allow for an accurate identification of the period depicted— Chinese New Year.On the building towards the background the inscription 天子万年 (Tian Zi Wan Nian), wishes the Emperor a long life. Althoughwe haven’t been able to identify the remaining, either because theyare incomplete or schematic, it is viable to assume that they allcarry well wishes for the New Year ahead.On the main house front, above a window with iron barsdecorated with fabric banners, a sign identifies it as a pawn shop:當 (Dang ou Dian Dang).1 On the side wall a closed window withtrellis shutters on paper or silk. Close to the river wall two dignitaries, probably state officials,seem to chat under a large tree with roots suspended overthe water, a detail that suggests a profound respect by the naturethat subjugates the urban development. They both wear Changpao and one holds an opium pipe; next to them an imperial guard,attired in a short jacket (Magua) over a long tunic with ‘horse hoof’cuffs. Towards a front door two servants clean the courtyard floor.Anchored close to the customs building, two sampan ofsliding, overlapping braided bamboo awnings2 that allow for easeof loading and unloading.Further along, by the water edge, a ceremonial gate toppedby a sign that reads San Kui Fang identifies the hamlet beyond anddefines its urban boundaries.At the foot of the mountain a large pagoda and on thepeak a great tower, probably a campanile. In the middle of theriver a sampan with full blown sail carries three officials a sailorand some produce.The landscape is completed by a snow covered mountainrange compatible with the season depicted. As a final note wemention that in this faraway land most villages were built by thefoot of mountains close to streams, as it was believed that thislocation would bring luck and prosperity, as it is illustrated by thisas well as the other paintings described.NotesBy their quality and rarity, this group of paintings on paper from theViscounts of Maiorca collection, assumes great importance in Portugal.Their technical and artistic analyses confirms that they were producedin the same workshop during the last third of the 18th century.The colour palette, the drawing character, the geometricarchitecture, the nature elements — trees with green and white 262 263traced canopies, suggesting the wind blowing and the light on thefoliage, as well as the curved lines of the river banks and of theshadowed mountains, are common to all.In all the elements is evoked the simplified ancestral calligraphictaste, transmitting the same qi or vital force, albeit in aninnovative manner, associated to subtle western influences bothin perspective and in detail.Until recently this type of interior architecture ornamentationwas unknown in China, although the use of auspicioussymbols enliven with texture and colour was common practice.Recently, after the restoration of the tromp l’oeil paintings on paperor silk, from the walls and ceiling of the Qianlong emperor’s secretgarden (Juanqinzhai) the parallel between those and the exportproductions became clear.The visual beauty and the technical subtlety of this typeof work associated to the attraction of this faraway culture, weremost certainly responsible for the eccentric and exotic ‘fever’ andconsequent diffusion in the West. We must thank Dr. Sasha Assis Lima for her valuable cooperationin this research and her guidance and direction in relationto the link between all the characters depicted and the ancestraltale ‘Dream of the Red Chamber’.
TP