清 虛谷 松鼠 扇面|Squirrel on an Autumn Branch

Xugu (Zhu Huairen) painted Squirrel on an Autumn Branch in 1880 in China, producing it as a folding fan that was later mounted as an album leaf of ink and color on alum paper. The work remained in its place of creation until it entered the collection of the Metropolitan Museum of Art, where it is presently held. Its dimensions measure approximately 18.4 cm in height by 48.3 cm in width.

No documentation of a specific commission or subsequent ownership transfers prior to its acquisition by the museum has been identified.

The painting attributed to Xugu, dated 1880, is part of the Metropolitan Museum of Art’s collection and is regularly cited in scholarship on late Qing visual culture. Its depiction of a squirrel on an autumn branch exemplifies the refined brushwork and subtle colouration characteristic of late‑century fan paintings. Because the work is housed in a prominent public collection, it serves as a reference point for studies of the genre’s evolution and for comparisons with earlier bird‑and‑flower traditions.

The piece’s inclusion in museum catalogues has contributed to renewed interest in folding‑fan formats within contemporary discourse on Chinese art.

Created in 1884 by the late Qing dynasty painter Xugu (1824–1896), this work depicts a squirrel perched on a slender autumn branch. Executed in ink and color on alum paper, the piece was originally a folding fan later mounted as an album leaf. The composition centers on the small mammal, which clings to the wood with its tail curled and paws grasping a nut.

Surrounding foliage is rendered in golden hues, sparse and delicate, signaling the arrival of autumn. Xugu, active during a period when many artists adhered strictly to archaic styles, distinguished his practice through a unique, idiosyncratic approach often described as quiet and eccentric. This work exemplifies his ability to infuse traditional bird-and-flower motifs with a distinct personal sensibility.

The use of alum paper allows for crisp ink lines and subtle color gradations, characteristic of his refined technique. As a small-scale fan painting, it reflects the intimate nature of literati exchange and personal expression in late nineteenth-century China, standing as a representative example of Xugu's mature style.