The work of Cui Zizhong, one of the most important Chinese figure painters of the seventeenth century, is puzzling when analyzed purely visually. His elongated figures are silent and mysterious; the techniques used to depict them are eccentric and mannered. In style, his work is a very personal combination of archaistic features intended to evoke the art of antiquity and motifs and compositions current among professional figure painters of his day.

We have found that his obscure images may be penetrated only by looking at their themes as well as at their mode of execution. Cui's subject matter and style, when linked with philosophical and social values prevalent in his circles, allow us to make hypotheses about the intent and contemporary meaning of his work. His initially mysterious paintings actually often carry fairly straightforward messages about religious and philosophical matters important to the artist. They are particularly concerned with reviving antique values and with self-cultivation.

This study is divided into two parts. Part One presents background material necessary for understanding Cui Zizhong's work in the context of his time. It consists of a survey of Chinese critical writings about figure painting, a discussion of the situation of figure painting in Cui's time, and a study of the philosophical interests of Cui's circle of friends. Part Two, an analysis of his paintings, is arranged thematically, and progresses from secular themes to religious subjects. It includes such topics as portraiture, both real and imaginary, narratives of the Daoist immortal Xu Jingyang Ascending to Heaven, and the Buddhist theme of Washing the Elephant. Our study attempts to link Cui's archaizing style, historico-religious subject matter, and the philosophical tendencies of his circle of friends, particularly fellow members of the Restoration Society, a group of young scholars intent on reviving the virtues of antiquity.