This rare and finely executed pair of Chinese export oil paintings, depicting winter hunting scenes, can be attributed to Fatqua, one of the most accomplished Cantonese artists working in the early nineteenth century. Known for his mastery of Western painting techniques and his refined approach to Chinese subject matter, Fatqua was highly regarded for his ability to blend European artistic conventions with traditional Chinese themes, making his works highly desirable among Western collectors.

In the first painting, a group of elegantly dressed figures, including a nobleman and his retinue, stand in the foreground, while hunters traverse a rugged mountain path in the background, carrying spears and accompanied by attendants. The presence of a young boy and female figures suggests that the hunt was not merely a sport but also a social occasion.

The second painting depicts a similar gathering near a hunting encampment, with tents pitched under the shelter of frost-covered trees. A returning hunter walks across the frozen landscape, carrying game birds in one hand and his bow slung over his shoulder. In the distance, imperial-style pavilions and banners suggest a grand hunting expedition, possibly referencing the elite Manchu tradition of winter hunts, which were both a test of skill and an expression of power.

Fatqua’s distinctive artistic style is evident in the fine detailing of the figures, the subtle modeling of their faces, and the rich treatment of their winter garments. Their robes are rendered with soft shading and delicate folds, demonstrating the artist’s skill in adapting Western chiaroscuro techniques while preserving the elegance of traditional Chinese painting. The barren trees, jagged rocks, and snow-covered paths are depicted with remarkable precision, creating a vivid sense of the season’s cold, harsh beauty. The use of perspective, particularly in the receding landscape, reflects Fatqua’s ability to merge European linear perspective with traditional Chinese compositional approaches.

The theme of winter hunting holds deeper cultural significance, particularly in the context of the Qing dynasty. Hunting was an important pastime for the Manchu ruling elite, closely tied to their nomadic heritage and military traditions. The presence of well-dressed noble figures in these paintings suggests they may be depicting an aristocratic hunting party, appealing to Western collectors’ fascination with the customs of the Chinese elite. The careful detailing of clothing, accessories, and landscape elements points to Fatqua’s renowned attention to refinement and luxury, making these paintings exceptional examples of Chinese export art.

Fatqua’s work is represented in major collections around the world, including the Peabody Essex Museum in Salem, the Hong Kong Museum of Art, and the Victoria and Albert Museum in London. Similar compositions featuring landscape-based narrative scenes attributed to Fatqua can be found in these collections, reinforcing the attribution of this pair. The rarity of winter hunting as a subject in Chinese export painting, combined with the artist’s skillful execution, makes these works particularly significant. Their delicate balance of Chinese and European artistic traditions, as well as their fine preservation, mark them as outstanding examples of early nineteenth-century China Trade art.