Paintings after Ancient Masters: Laozi Riding an Ox

The image draws on an ancient Chinese anecdote in which Laozi departs the world riding an ox, a symbol of humility and natural order. By presenting the sage on a toy‑like animal, Chen emphasizes the philosophical notion of simplicity, while the stark, empty space foregrounds the figure’s isolation, echoing the marginalised state of loyalist scholars who felt removed from official life.

Chen employs a highly refined, archaistic brushwork that accentuates crisp, angular folds in the robe and a rigid, almost sculptural rendering of the ox. The miniature scale of the figures recalls the delicate composition of Chinese scholar’s gardens and the careful arrangement of ornamental rocks, creating a sense of controlled intimacy rather than naturalistic depth.

Created in the later phase of Chen Hongshou’s career, the painting reflects his mature synthesis of traditional motifs and personal eccentricities. The double‑album, likely compiled for a private collector, remained within Ming‑era circles before entering modern museum holdings, where it serves as a representative example of Chen’s late output.

During the waning years of the Ming dynasty, many officials and scholars faced political disenfranchisement, leading to a collective sense of loss and introspection. Chen’s deliberate reduction of scale and the austere composition of this work mirror that psychological climate, offering a visual metaphor for the constrained existence of the era’s loyalist intelligentsia.