Fan Qi worked in an unusually precise and realistic style. He was also among those painters most clearly influenced by Western landscape techniques, which were imported to Nanjing through the prints, books, and paintings brought by Jesuit missionaries.
In this album Fan's interest in describing the changing seasons, times of day, and differing qualities of light and atmosphere recalls the descriptive goals of Song painting. In contrast to Song landscapes, Fan's minutely described scenery, his accurate use of foreshortening, and his interest in the coloristic effects of sunlight result in an almost documentary quality.
Inscription: Artist’s inscription and signature (3 columns in semi-cursive/standard script)
Painted in the qinghe [eighth lunar] month of the guichou year [September 11–October 9, 1673] for Master Yuweng’s correction, Fan Qi.
Fan 樊 (Leaf A, C, E, F) Qi 圻 (Leaf A, C, E, F) Fan Qi zhi yin 樊圻之印 (Leaf D) Zi yue Huigong 字曰會公 (Leaf D) Huigong 會公 (Leaf G) Huigong 會公 (Leaf H)
Fu Zhu符鑄 （1881–1947), 2 columns in semi-cursive script, dated 1931:
Ma Jizuo 馬積祚 （1915–2009） 積祚審定 (Leaf A) 積祚 (Leaf H)
Jiang Zuyi 蔣祖詒 （1902–1973） 穀孫秘笈 (Leaf H) 屺亭審定 (Leaf A) 里堂 (Leaf A) 雲亭珍藏 (Leaf H)
Gu Luofu 顧洛阜 (John M. Crawford Jr., 1939–1988) 顧洛阜 (Leaf A, H) 漢光閣 (Leaf A, H)