Shen Quan (1682–1760), also known by his style name Nanping, was a preeminent court painter of the Qing Dynasty who reached the height of his fame during the Qianlong reign. His masterpiece, "Jiu Ru Tu" (The Nine Resemblances), is a stunning visual interpretation of a sacred blessing from the Classic of Poetry (Shijing). Shen Quan is uniquely celebrated for his three-year residence in Nagasaki, Japan, where his arrival in 1731 revolutionized Japanese bird-and-flower painting, establishing the influential Nanping School and introducing naturalistic realism to the Edo period.

The artistic technique of "Jiu Ru Tu" represents the pinnacle of 18th-century Gongbi (meticulous) painting. Shen Quan was a pioneer in integrating Western-influenced realism—introduced by Jesuit missionaries—into traditional Chinese brushwork. In this work, the nine carp are rendered with anatomical realism and surgical precision. By utilizing subtle chiaroscuro (shading) and layered color washes, Shen achieved a remarkable three-dimensionality, making the fish appear as if they are gliding through translucent water, a hallmark of his sophisticated cross-cultural aesthetic.

In terms of composition, the painting is a study in dynamic harmony. The nine fish are arranged in various postures—leaping, diving, and swirling—creating a sense of rhythmic movement. The surrounding environment, often featuring overhanging willows, reeds, or lotus blossoms, is depicted with equal detail to enhance the spatial depth. The use of vibrant mineral pigments provides a luminous quality to the scales of the carp, reflecting the opulence and technical maturity of the High Qing imperial academy.

The iconography of the work is deeply rooted in Chinese literary tradition and auspicious rebuses. The term "Jiu Ru" originates from the "Tian Bao" poem in the Classic of Poetry, listing nine things (such as the sun, the moon, and the mountains) that resemble the enduring nature of a king's blessings. Because the word for "fish" (Yu) is a homophone for "abundance" and sounds similar to "resemblance" (Ru) in certain contexts, the nine carp became a visual metaphor for a wish of eternal prosperity, longevity, and uninterrupted success for the recipient or the Emperor.

Historically, "Jiu Ru Tu" stands as a testament to the globalized visual culture of the 18th-century Qing Empire. Shen Quan’s Nanping style successfully bridged the gap between scientific observation and traditional symbolism. His works, preserved in major institutions like the Palace Museum, remain vital for studying Sino-Japanese cultural exchange. Today, Shen Quan is remembered as the artist who transformed courtly craftsmanship into a sophisticated medium of naturalistic inquiry and diplomatic art.