Who painted Herbaceous Peony?

Herbaceous Peony was painted by Yun Shouping.

Where can I see Herbaceous Peony?

Herbaceous Peony is held by Cleveland Museum of Art.

Can I buy a print of Herbaceous Peony?

Museum-quality prints of Herbaceous Peony are available made-to-order from Artifact World Gallery.

Artwork

Herbaceous Peony

Yun Shouping

Herbaceous Peony is an unspecified painting by Yun Shouping. It is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Created in 1693 by Yun Shouping, a prominent early‑Qing painter counted among the Six Masters, *Herbaceous Peony* is a small hanging scroll now held by the Cleveland Museum of Art. The work presents a modest grouping of three peony blossoms rendered in soft pinks and whites against a muted beige ground, inviting quiet contemplation.

Subject & Meaning

The composition centers on three peony flowers with their verdant stems and leaves, a motif traditionally linked to prosperity and distinction in Chinese visual culture. Complementing the imagery, Yun inscribed verses of Chinese poetry along the top and sides, allowing the written word to deepen the symbolic resonance of the blossoms.

Technique & Style

Yun employs a restrained brush technique, using smooth, controlled strokes that give the petals a delicate, almost translucent quality. The limited palette—subtle pinks, whites, and greens—contrasts with the light, almost neutral background, emphasizing the natural forms while maintaining the lyrical simplicity characteristic of his mature style.

History & Provenance

The painting was executed during the Kangxi reign, a period when Yun Shouping was celebrated both as a painter and a calligrapher under his art name Nantian. After changing hands among private collectors, the scroll entered the Cleveland Museum of Art’s collection, where it remains accessible to scholars and the public.

Context

Yun’s work reflects the early Qing court’s taste for refined, literati painting that combined poetry, calligraphy, and modest botanical subjects. By focusing on a single flower group rather than a grand landscape, the piece aligns with the era’s aesthetic preference for intimate, scholarly expression over decorative excess.