Nan Lü refers to the sixth Lü tone in the ancient twelve-tone temperament system, paired with the eighth lunar month (the month of You, corresponding to the metal element, hence Jin Xing (Golden Movement)). The composition depicts the Taiye Pool (Grand Liquid Pool) in the imperial city, with the Jin’ao Yudong Stone Bridge spanning the water, Yudong Memorial Arch at the bridgehead, and water lilies and reeds swaying in the autumn breeze. Ding adopted a high-angle perspective (from east to west) to present the panoramic view, with boats gliding across the rippling lake, pavilions on the shores, and distant mountains veiled in mist—combining the grandeur of imperial architecture with the serene melancholy of autumn.
Stylistically, the work is a masterclass in gongbi (meticulous fine-line) landscape and architectural painting, blended with Western perspective techniques learned from Giuseppe Castiglione (Lang Shining). The bridge arches, brackets, and roof tiles are rendered with precise lines and subtle tonal gradations to create three-dimensionality, while the water ripples and plant foliage use fluid, varying brushwork to avoid rigidity. The color palette is restrained yet rich: golden yellows for the autumn leaves, muted greens for the remaining foliage, and soft grays for the stone structures, echoing the golden atmosphere of the eighth lunar month without being garish.
Art-historically and politically, this scroll is an integral part of the Twelve Imperial Palace Views project, which was a deliberate display of Qianlong’s cultural authority. By commissioning court painters to visualize his own poems about the seasons, Qianlong linked imperial power to the cyclical order of nature. Ding’s treatment of Taiye Pool—home to the imperial palaces and a symbol of the Qing court’s rule—elevates a simple autumn scene into a statement of dynastic stability. The work also reflects the peak of early-to-mid 18th-century court painting, where traditional Chinese brushwork seamlessly merged with European naturalistic techniques to serve the imperial narrative.
Technical and archival notes: The paper was specially processed to withstand repeated layers of mineral pigments, ensuring the colors remain vivid over centuries. The architectural details (such as the bridge’s square central arch and four round side arches) are historically accurate, making the painting a valuable document for studying Qing imperial architecture. The multiple imperial seals and colophons added by Qianlong over time confirm the work’s status as a favored piece in the imperial collection.