天下名山圖（亨） 冊 晉戴逵蕺山仙館圖

Executed in the dry‑lacquer method, the painting achieves its tonal variation through successive applications of pigment and lacquer, allowing for subtle transitions between light and shadow. The use of brown hues and the restrained brushwork reflect the aesthetic preferences of the Eastern Jin period, emphasizing simplicity and atmospheric suggestion over detailed representation.

The work is attributed to Dai Kui, a multi‑talented writer, painter, and sculptor active in the Eastern Jin court. Although most of his original pieces were lost following later anti‑Buddhist measures, this album leaf survives as a rare example of his landscape practice, preserved within a later collection of painted albums.

During the fourth century, Chinese artists began to integrate Buddhist visual elements into traditional motifs, a synthesis Dai Kui helped advance. While the painting itself does not display overt Buddhist iconography, its contemplative atmosphere aligns with the meditative qualities associated with early Buddhist-inspired art.