Fig. 35. Unidenti昀椀ed artist. Portrait of a Woman, ca. 1920–40. Framed painting; ink and color on cotton, 333/4 × 201/2 in. (85.7 × 52.1 cm). The Metropolitan Museum of Art, New York, Rogers Fund, 1943 (43.12) decorated with a bird- and- 昀氀ower composition in faint lines, her small full mouth is light pink, and her piercing ink. In her lap, she holds a spray of peonies. Even the eyes are depicted with dark gray irises, black pupils, and blue tablecloth is dotted with small 昀氀owers. de昀椀ned upper lids. Echoing the curve of the eyes, her In contrast to the many details surrounding the eyebrows are a faint gray. The rest of her face is unmot- sitter—the green cushion with dense tassels, her tled, as if the painter did not want to disturb her pale long braid intertwined with a red textile, the gold- skin with her features. This unshaded, porcelaneous painted planter with 昀氀oral motifs, and the lush leaves of face conveys female beauty standards of the time and the peonies—her face stands out as one of the palest mirrors the trend in contemporary East Asian portrait portions of the paintings. Due to her white complexion, photography in which studio lighting was arranged to closer inspection is needed to see the carefully rendered diminish shadows on the face.�� While every wrinkle features. Her nose and ears are articulated through thin on the aforementioned scholar was a testament to his 33