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The 3 Most Famous Cheng Sui Paintings, Each One of a Kind
Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 3 works by Cheng Sui in our catalogue
In short
Untitled (1673) is the Cheng Sui painting that draws the most eyes; the original belongs to the The Palace Museum, Beijing. After it, the eye goes to Untitled and Untitled. Among the 3 works of Cheng Sui in our catalog, these 3 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
1605 – 1691
Most works: The Palace Museum
Top 10 paintings by Cheng Sui, through the gallery's eye
The museums that keep Cheng Sui's originals
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Cheng Sui | Paintings from this list |
|---|---|---|---|
 The Palace Museum |
Beijing | 3 | Untitled, Untitled, Untitled |
Cheng Sui across the years: the unique originals of each
All the dated Cheng Sui originals shown here belong to a single year, 1673: they appear in order of fame.
Works per year
Pick a year to see its originals.
Cheng Sui's paintings: questions for the gallery
What is the single most famous work of Cheng Sui?Reveal the answer
Untitled (1673), The Palace Museum, Beijing. Untitled and Untitled come next.
At what age did Cheng Sui create Untitled?Reveal the answer
68 years old: Untitled dates from 1673, and Cheng Sui was born in 1605.
How many works by Cheng Sui are known?Reveal the answer
Our catalog holds 3 works by Cheng Sui.
Where can the most famous Cheng Sui originals be seen?Reveal the answer
Mostly in The Palace Museum (Beijing). The museum table above lists them all.
What Cheng Sui originals can I see at the The Palace Museum?Reveal the answer
Untitled, Untitled and Untitled: the The Palace Museum, Beijing holds 3 of the works on this page.
Cheng Sui: a portrait of the artist
The Quiet Brush of She County
In the hills of She County, Anhui, a man named Jiang Fang began a life that would eventually be known by many other names. He was a man of many disciplines, moving between the precision of seal cutting and the fluid grace of calligraphy. His hands were accustomed to the weight of a brush and the sharp edge of a carving tool. He lived through the transition of dynasties, a period of shifting loyalties and changing landscapes in China. His work was not a loud declaration, but a steady presence in the shifting currents of the Ming and Qing eras.
His landscapes were built with a specific kind of intention. He favored dry and dark brushstrokes, a technique that allowed the texture of the paper to speak alongside the ink. There is a certain weight to his compositions, a sense of the earth and stone captured through deliberate, unhurried movements. He did not seek to decorate, but to record the essence of the terrain through the interplay of light and shadow created by the ink's density.
A Life of Many Names
To understand his presence in history, one must look at the various identities he carried. He was a man who existed within several layers of tradition, often referred to by names that reflected his character or his scholarly pursuits. His life was defined by these various roles:
- Painter of landscapes
- Poet and writer
- Seal cutter
- Calligrapher
His connection to the Xin'an School placed him within a specific lineage of thought and style. This was not a matter of mere membership, but a way of seeing the world through the lens of his surroundings. His landscapes were not just views, but reflections of a specific way of being in the world, captured through the ink and the brush.
The Mark of the Ink
The legacy of his work remains in the quiet details of his brushwork. His landscapes, such as those held in the Palace Museum in Beijing, show a mastery of the dry stroke. This method requires a certain restraint; one cannot hide a mistake behind a heavy wash of ink. Every line is a choice. Every dark stroke is a decision about where the mountain meets the sky. He lived until 1691, leaving behind a body of work that speaks of a man who understood the value of a single, well-placed mark.