The Signature in Blue: A Chinese Highland Portrait and the Search for Lin Shusen (林树森)
New research into an expressive Chinese oil portrait has revealed an intriguing trail connecting a blue Chinese signature, a surviving Shanghai gallery label and the documented highland portraiture of Shenzhen/Dafen painter Lin Shusen.
Sometimes the most rewarding art research begins with details that initially appear insignificant.
In this case, those clues are a blue Chinese signature at the lower right of an intimate oil portrait and a surviving Yi Ren Gallery / 伊人畫廊, Shanghai label attached to its reverse.
Together they have opened a fascinating line of investigation into the possible authorship and history of the painting.
An Expressive Highland Child Portrait
The painting depicts a smiling young child standing within an expansive ochre and blue-grey landscape.
The sitter wears substantial fur- or fleece-trimmed clothing, with red decorative elements around the neck, while one hand is raised towards the mouth. There is an appealing spontaneity to both the expression and gesture.
The artist has concentrated relatively controlled modelling upon the child's face and hand, while the surrounding landscape becomes considerably broader and more physical. Thick passages of oil paint create pronounced ridges and texture across the pale terrain.
This contrast between carefully observed portraiture and freely handled landscape became an important element in our subsequent research.
Could the Signature Read “Shusen”?
At lower right is a conspicuous signature executed in blue Chinese script.
Close examination suggests that the characters may include or read “树森” – Shusen.
This reading remains provisional. The cursive execution and heavily textured paint beneath the signature prevent us from describing it as definitively identified.
However, “树森” corresponds to the given-name element of Lin Shusen – 林树森.
A name correspondence alone would never be sufficient to establish an attribution. What makes this discovery considerably more interesting is what happened when the painting was compared with Lin Shusen's documented work.
A Possible Attribution to Lin Shusen
Lin Shusen was born in Quanzhou, Fujian Province, in 1974 and subsequently established his professional career within the artistic environment of Dafen in Shenzhen.
His documented oeuvre contains a sustained body of realist figure painting involving children, young people and figures associated with Tibet and western China's highland regions.
Particularly relevant documented paintings include:
Xiahe Shepherdess – 2011
Zhuoma II – 2012
Longing / Yearning – 2013
Tibetan Bridegroom – 2014
Morning Light at Xiahe – 2017
Of these, Morning Light at Xiahe provides a particularly intriguing comparison.
The two paintings are not the same composition. Nevertheless, Lin's documented work similarly combines a young highland figure, substantial fur-edged clothing, a hand raised towards the face, a low horizon and an expansive plateau landscape.
The relationship is therefore considerably more specific than a broad similarity in colour or style.
Combined with the possible “Shusen” signature, these characteristics make Lin Shusen the strongest artist candidate identified through our research.
The attribution nevertheless remains unconfirmed.
Who Is Lin Shusen?
Published biographical material records that Lin Shusen established his first art studio in 1996 before opening Senyi Classic Gallery in Dafen in 2004.
His subsequent artistic education included advanced oil-painting study at Guangzhou Academy of Fine Arts, further study connected with the Repin Academy in Russia in 2012, and study at the Chinese Academy of Oil Painting in 2015.
His practice developed an increasing emphasis upon psychologically expressive portraiture.
Published material surrounding his later exhibitions discusses his recurring interest in girls and children, including Tibetan children, and his desire to communicate the gaze, character and emotional presence of his sitters through realist oil painting.
Lin Shusen's Exhibition History
Lin Shusen has developed an interesting documented exhibition history.
He participated in the first Shenzhen International Art Fair in 2012 and presented a Highland Red themed solo exhibition at the second Shenzhen International Art Fair in 2013.
In 2015, Lin took 27 original oil paintings to a Sino-American art exchange exhibition at the Sacramento Convention Center in California. Recorded works included Zhuoma, Hui'an Woman, Light of Peace and Silk Road.
From 24 April to 6 May 2018, Dafen Art Museum presented a dedicated exhibition of Lin Shusen's oil paintings.
His relationship with Dafen continues into the present period. From 9 June to 12 July 2026, Lin was included among ten artists in a Dafen Art Museum group exhibition.
These exhibitions provide important context for the proposed attribution, but they relate to the documented career of Lin Shusen. No evidence has presently been established demonstrating that this particular painting appeared in any of these exhibitions.
The Yi Ren Gallery, Shanghai Connection
The second major clue is found on the reverse of the painting.
A surviving printed label reads:
Yi Ren Gallery
伊人畫廊
Tel: 86-21-62080147
13801941623
1483 Gubei Road
HongGu Wan Pedestrian Walk
Shanghai
The label provides tangible evidence associating the framed painting with a named Shanghai gallery or retail business.
Independent research has identified use of the Yi-Ren Gallery name elsewhere in Shanghai. The precise historical relationship between that independently recorded business and the Gubei Road address printed on this label has not, however, been conclusively established.
Importantly, the surviving label contains no artist's name, title, date, exhibition title or inventory number.
It therefore establishes a Shanghai gallery/retail association, rather than proof that this particular painting was formally exhibited by Yi Ren Gallery.
It is presently unknown whether Yi Ren Gallery represented the artist, sold the painting, exhibited it, commissioned it or was involved primarily with its framing or retail handling.
Is This the Gobi Desert?
The painting has previously been described as portraying a child within the Gobi Desert.
Current evidence does not allow that geographical identification to be stated as fact.
Nothing on the surviving Yi Ren Gallery label identifies either the sitter or location. We therefore prefer the more cautious description of a western-Chinese or highland landscape.
There is nevertheless an intriguing connection.
Lin Shusen is documented as having travelled through Dunhuang, Yumen Pass, Yang Pass and the Gobi while researching paintings associated with his Silk Road project.
Combined with his extensive Tibetan and highland portraiture, this establishes that such imagery belonged firmly within Lin's artistic vocabulary.
It does not, however, establish the specific location depicted in the present painting.
How We Now Catalogue the Painting
Research can strengthen an attribution, but it is equally important to recognise where the evidence ends.
No authoritative signature comparison or documentary provenance has yet established Lin Shusen's authorship of this particular painting.
We therefore catalogue the work as:
Chinese School, probably early 21st century – Highland Child (Anticipation), oil on canvas, signed lower right in Chinese, apparently “Shusen” (树森?); possibly by Lin Shusen (林树森, b. 1974); attribution unconfirmed; bearing Yi Ren Gallery, Shanghai label to verso.
The painting measures approximately 33.5 × 28 × 2.5 cm / 13.19 × 11.02 × 0.98 inches framed.
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Conclusion
What initially appeared to be an unidentified Chinese portrait has developed into a considerably more specific art-historical investigation.
The possible “Shusen” signature, the highland subject, close comparisons with documented paintings by Lin Shusen and the surviving Yi Ren Gallery, Shanghai label together create a compelling research trail.
The attribution remains unconfirmed and further documentary or technical evidence may ultimately strengthen, refine or disprove it.
For now, the painting presents something particularly interesting: a credible and testable attribution supported by multiple strands of evidence rather than a speculative name association.
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