Untitled

The work is dated to 1506 and attributed to an anonymous painter working after Ma Lin, executed as a fan mounted as an album leaf in ink and color on silk. It was produced in China and entered the collection of the Metropolitan Museum of Art, where it is currently held.

The painting's attribution to an anonymous maker after Ma Lin indicates it was created in the tradition of the earlier artist rather than by Ma Lin himself. The fan format, later remounted as an album leaf, reflects a common practice of preserving and reformatting Chinese paintings for later collections.

The painting, attributed to an anonymous follower of Ma Lin and dated 1506, entered the collection of the Metropolitan Museum of Art, where it is displayed as a representative example of late Ming flower imagery. Its presence has guided scholars examining the stylistic continuities between Ma Lin’s school and later anonymous practitioners, shaping interpretations of Chinese courtly art in the early 16th century. The work’s attribution and conservation have contributed to broader reassessments of anonymous painters in Chinese artistic history.

The painting’s influence extends to contemporary studies that use its floral motifs to trace developments in ink‑color techniques across the Ming period.

Created in 1506, this small silk fan functions as an album leaf and bears a solitary pink peony rendered in ink and color. The composition occupies a pale backdrop, allowing the blossom’s delicate hues and the surrounding foliage to stand out. Though untitled, the work exemplifies the intimate, portable art that could be consulted during leisurely moments.

During the early 16th century, portable artworks such as painted fans were popular among the literati, who used them to complement garden strolls or private study. This piece aligns with that tradition, offering a miniature landscape of nature that could be appreciated in moments of quiet reflection.