Core Insights - The article discusses the historical context and significance of Chinese painting during the Yuan, Ming, and Qing dynasties, particularly focusing on the works of artists like Zheng Sixiao and Gong Kai, who expressed their sentiments as "remnant subjects" after the fall of the Song dynasty [1][2][3] Group 1: Artists and Their Works - Zheng Sixiao's painting "Molan Tu" symbolizes the nostalgia for the Song dynasty, depicting a rootless orchid that reflects the artist's emotional state and the broader sentiment of loss among the literati [2][3] - Gong Kai's "Junma Tu" similarly embodies the remnant spirit, showcasing a horse that represents the pain of lost identity and the passage of time [3] - The article highlights the contrasting approaches of artists like Zhao Mengfu, who sought to transcend their circumstances through a revival of ancient styles, thus maintaining their cultural identity despite the political changes [3][4] Group 2: Cultural Gatherings and Their Impact - The article describes the flourishing of cultural gatherings (Yaji) during the Yuan dynasty, where literati would convene in private gardens to share art and poetry, fostering a rich cultural exchange [4][5] - Notable figures such as Gu Ying and Ni Zan played significant roles in these gatherings, contributing to the development of literati painting and the preservation of cultural heritage [4][5] - The gatherings served as a platform for artists to express their feelings about the changing political landscape while also allowing for the continuation of artistic traditions [5][6] Group 3: Legacy and Reflection - The remnants of these cultural practices, such as the fragmented "Fuchun Mountain Residence" painting, symbolize the enduring legacy of the literati spirit and their connection to history [5][6] - The article emphasizes the importance of these historical narratives in understanding the emotional and cultural landscape of the time, as well as their relevance to contemporary reflections on identity and heritage [6]