Landscape in the manner of Juran. Like Yi Nianzeng, whose work is also in this collection, Ho Weipu was of the family of one of the great calligraphers of the middle Qing dynasty, Ho Shaoji (1799-1873). A grandson, Ho's life overlapped that of his grandfather by thirty years, and he must have been able to absorb some of the lessons and stories that the older Ho wished to convey to posterity. In the early decades of the twentieth century, Shanghai was fast becoming one of the most metropolitan-and infamous-cities in the world. Ho's participation in this environment is indicated by the colophon he wrote on an album by the London-educated and very influential artist Jin Cheng. Ho displays his erudition in the history of painting by noting that his painting is modeled after a small album leaf by the Five Dynasties artist/monk Zhuran. Even today, there is debate about the exact nature of Zhuran's work, and this work is much closer to late Ming and early Qing conceptions of the artist than to a theoretical original. The major forms are sketched out in large blocky masses, and then modeled with blunt overlapping strokes the Chinese call cun. This landscape is not too dissimilar from the one in the Henricksen collection.