Wang Hui's album, executed in 1674 at the artist's peak, exemplifies his systematic pursuit of a creative synthesis of earlier styles through the careful study and reinterpretation of ancient paintings. Done at the request of his mentor, Wang Shimin, it is a virtuoso performance meant to show the older painter just what he could do. Wang Hui presents startling characterizations of familiar models: large-scale compositions have been condensed and reshaped, brush idioms have been transformed into small-scale brushstrokes of great liveliness and freshness, and vivid colors have been applied in striking combinations. In addition, each leaf evokes a specific season.

Wang Shimin was so impressed by Wang Hui's performance that he created his own set of album leaves based on those of his pupil. Only two of Wang Shimin's leaves remain. His interpretation of Li Cheng was closely modeled on Wang Hui's painting, but he was unable to duplicate the younger man's evocation of Zhao Mengfu's intricate "blue-and-green" style. Instead, Wang Shimin substituted his version of Zhao Mengfu's sketchy landscape manner.

1. Leaf G: Wang Hui, Peach Blossom Spring Following Zhao Mengfu's (1254–1322) Methods of Using Color

When Spring comes peach blossom waters are everywhere;
If this is not an immortal's spring what place is?

2. Leaf C: Wang Hui, Shady Summer Woods after Wang Meng (ca. 1308–1385)

3. Leaf D: Wang Hui, Pavilion Amid Woods and Verdant Peaks Following the Brush Ideas of Guan Tong (10th century)

Clouds girdle a thousand green peaks;
A single pavilion amid the autumn-tipped trees.

4. Leaf J: Wang Hui, Snowy Studio in a Mountain Village after Wang Wei (699–759)

5. Leaf I: Wang Hui, Wintry Grove on Ancient Banks after Li Cheng (919–967)

In this leaf, Wang Hui transforms his model into a set of abstract calligraphic brushstrokes.

6. Leaf K: Wang Shimin, After Li Cheng's (919–967) "Wintry Grove"

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