Shen Quan (1682–1760) (courtesy name Nanping, art name Hengzhai, the preeminent bird‑and‑flower painter and founder of the Nanping School), painted this signature work in the third autumn month of the Bingyin year of the Qianlong reign (1746, at age 65). It is a hanging scroll, ink and mineral color on silk, with image dimensions 98.2 cm × 47.2 cm. A typical celebratory gift for a literati friend’s birthday, it carries his running‑script signature, “Painted by Nanping Shen Quan in the third autumn of Qianlong Bingyin”, and seals “Shen Quan Zhi Yin” and “Nanping”, confirming its authenticity. The work exemplifies his mature style after returning from his three‑year teaching sojourn in Japan (1731–1733), where he was hailed as the “foremost imported painter” and profoundly influenced Edo‑period Japanese painting.
The composition is a masterclass in balanced density and lyrical naturalism. Gnarled ancient cypresses with twisted, vine‑clad branches dominate the upper half, rendered with precise, forceful outline brushwork (gouti) and layered ink washes to define their rough bark texture. Below, by a rippling stream and rocky bank, two sika deer—one standing alert, head tilted toward the cypress canopy, the other resting tranquilly—are depicted with meticulous detail: fine lines for their spotted pelts, subtle gradient washes for volume, and lifelike eyes that convey serene vitality rather than stiff realism. Shen Quan uses mineral colors—muted ochre, indigo, and malachite green—sparingly, integrating them into the ink layers instead of overlaying them crudely. Misty wet‑ink washes blur the transition between the rocky foreground and distant cliffs, while delicate touches of flowering plants add splashes of soft color without disrupting the quiet atmosphere. The interplay of hard, angular lines for rocks/cypresses and fluid, curved lines for deer/stream creates a dynamic harmony.
This 1746 work is a definitive expression of Shen Quan’s synthesis of the Huang Quan school’s courtly precision and the Lu Ji school’s realistic sketching, while incorporating techniques he refined in Japan to enhance three‑dimensionality. Beyond technical virtuosity, the iconography is rich with traditional auspicious meanings: cypresses (bai) symbolize longevity and integrity, and deer (lu) are a homophone for official emoluments and prosperity, combining to wish the recipient “enduring blessings and eternal eminence”. It also reflects the artist’s dual legacy: preserving the essence of Chinese academic bird‑and‑flower painting while acting as a cultural bridge between China and Japan. Its blend of meticulous realism and poetic resonance makes it not only a representative late work of Shen Quan but also a key artifact in the history of Qing‑era cross‑cultural artistic exchange.