This gouache painting on paper, dating to the last quarter of the 18th century, is part of the collection of the Viscounts of Maiorca, in Portugal.

The composition features a river landscape, prominently showing a residence that likely belongs to a mandarin. The building exhibits the characteristics of traditional Chinese architecture, such as a sloping roof with wavy tiles and ornamental scrolls painted white at the ends. These features were commonly found in upper-middle-class residences.

The entrance of the house is framed by two side panels decorated with lattice elements covered in pink fabric. The main window on the facade features a red meander pattern, while pink curtains can be seen in the side window.

Outside, beneath a pergola, stands an upper-class servant – likely the nanny of the child accompanying her. She wears a long tunic made from refined fabric, a long pleated skirt and a blue vest featuring side slits for ease of movement. Her hair is styled with simple pins, and she wears round earrings. The boy, sporting a Manchu queue – characterised by a shaved front portion of the head and a long braid descending from the upper part of the scalp – is dressed in green trousers, a green shirt and a red vest, paired with black shoes that have white soles.

Next to the house is a strategically positioned lighthouse or watchtower[1] whose conical spire is topped with a pinnacle resembling a gourd.[2] The tower sits on a brick platform featuring a red balustrade.

On the pier, a male figure with Chinese features and a Manchu queue stands dressed in work clothing: a shirt with long, wide sleeves that is open on the sides and fastened with laces, short knee-length trousers with dark hems, striped socks and black cloth shoes with white soles and rolled toes. In his right hand, he holds a blue fan, while a red bag protrudes from the side opening of his shirt.

Next to the pier steps, a small pleasure boat (zhōu chuán, 舟船) carries two people. The female figure leans forward, attentively looking at her companion, who is wearing a tunic (chang pao) with a round band at the collar.

A footbridge stretches over the river, connecting the house to a pavilion. Two women of distinct social status cross the bridge, chatting amiably. Their elaborate bun-shaped headdresses are adorned with flowers and decorative pins, and both wear elegant earrings. They are dressed in long silk tunics with drapes and voluminous sleeves, paired with pleated skirts – garments that were fashionable among the Chinese elite. One of the women holds a feather fan.

These noble figures are heading towards the waterside pavilion (shuixie, 水). This structure, associated with elegant residential spaces, typically served as a place for meetings, contemplation of the landscape and introspection. Interaction with water was believed to foster harmony and balance, helping to connect the human spirit to the natural flow of the Universe.

The pavilion is rectangular and constructed on slightly raised stone foundations above the water. It is open on all four sides, with small side panels featuring decorative latticework attached to the pillars. The gable roof has gently curved ends and ornamental edges with wavy designs. At the top, there is a gourd placed on a lotus flower, similar to the one atop the tower. This centrepiece is flanked by two facing water dragons, benevolent beings symbolising power, strength and good fortune, as they govern water, including rain and river flow.

At the gable of the roof, there is a red ornament that appears to be a Ruyi head; however, its shape more closely resembles an arrow pointing towards the water. This decoration might have had both decorative and symbolic purposes, as it can be interpreted as directing the flow of vital energy (Qi, 气) that protects and fosters harmony between nature and humanity. This concept is central to Confucian, Taoist and Buddhist thought.

The painting holds significant importance, not only due to its provenance and state of conservation but also because it provides a visual and cultural record of its time. It embodies the ideals of the Qing dynasty, including cosmic harmony, material prosperity, social hierarchy and aesthetic sophistication.

[1] These towers played a crucial role in maritime security, territorial control and trade.

[2] The gourd, associated with Li Tieguai – one of the Eight Immortals – manipulates and balances Qi (vital energy), which is an essential goal in Taoist practice. In Chinese culture and more broadly, the gourd is considered a symbol of longevity, abundance and protection against evil spirits.