This book re-evaluates the significance of 'vernacular' Chinese painting from the 17th and 18th centuries, challenging traditional art historical hierarchies. James Cahill, a renowned scholar of Chinese art, presents the first scholarly account of paintings created for 'use and pleasure' by professional urban artists for affluent patrons during the late Ming through the Qianlong period. These works, often dismissed by traditional collectors in favor of literati paintings, are revealed to offer crucial insights into High Qing culture, including the Qing emperors' engagement with erotic culture, evolving gender roles, the growth of figure painting within the imperial court, and the adoption of European artistic styles.

The book is lauded by critics as an outstanding, timely, and original contribution to the field of Chinese pictorial art history. Susan Nelson of Indiana University highlights Cahill's illumination of obscure artists, emerging styles, and regional traditions, noting the reader is left richly informed. Susan Mann emphasizes Cahill's success in bringing vernacular painting into legitimate art historical criticism, providing a more capacious grasp of Chinese pictorial art. The work is recognized for significantly expanding the understanding of High Qing culture and later Chinese society.