Qian Du (1764–1844) presents the literati’s ideal of recluse living in a serene and leisurely atmosphere in this work. Compared with the earlier album leaves he created in 1786—now housed at the Metropolitan Museum of Art—which share the same theme, both works depict a scholar quietly seated in a refined, tranquil pavilion, conveying elevated literati sentiments. Although created several years apart, the two paintings continue a consistent motif, revealing Qian Du’s sustained focus on the scholar’s secluded lifestyle and demonstrating the importance this subject held throughout his artistic career.Moreover, in his inscription Qian Du notes that he followed the technique of the Ming painter Wen Zhengming, yet his brushwork is far from mere imitation: his fine, meticulous strokes convey a graceful liveliness within an archaic simplicity. His compositional approach and use of color likewise exhibit the lingering influence of the Wu School. By comparing his work with Wen Zhengming’s renowned Yingcuixuan tu (“Pavilion Shaded by Emerald Greens”), one can see that Qian’s delicate depiction of branches and foliage owes much to Wen’s style; even so, he integrates personal creativity within these inherited methods, ultimately shaping a unique artistic radiance of his own.

钱杜（1764–1844）所绘《荷榭销夏》，以恬静安闲的氛围展现文人理想的隐逸生活；对比其早于1786年所作、现藏于大都会博物馆的册页，不仅题材相同，同样描绘了高士悠然坐于清幽雅致的凉亭之中，蕴含高洁的文人情怀。两幅作品在创作时间上相隔数年，却延续了同样的主题，显示出钱杜对文人高士隐居意趣的持久关注，亦可见此题材在其艺术生涯中始终占据重要地位。此外，钱杜在题识中提及自己承袭明代文徵明的技法，然而其笔意风貌并非单纯模仿：运笔细密工整，于古朴中散发灵秀之气，构图形式与色彩运用亦见吴门画派的遗韵。若对比文徵明的名作《影翠轩图》，不难发现钱杜对树枝树叶之“细笔”描绘深受文氏影响，却在继承古法的同时融入个人创意，从而形成自家独特的艺术光彩。

釋文：文太史有是本，其蒼渾疏逸之趣全師北宋人，一丘一壑皆自肺腑中出，不可以筆墨繩之也。

Artist inscription:
Wen Taishi (Wen Zhengming, 1470-1559) possessed a version of this work. Its vast, unrestrained elegance and natural simplicity fully adhere to the style of Northern Song masters. Every hill and stream flows directly from the artist’s heart, beyond the constraints of mere brush and ink.