Hsu conceives of eighteenth-century Yangchow painting as "an artistic product shaped by a collective social and cultural experience," not by the creativity of individual artists.
One issue concerning style and subject matter that Hsu does raise several times in her book is the relative unimportance of landscape among painting subjects in eighteenth-century Yangchow. Of the four artists she studies, only Fang Shih-shu, the most conservative, specialized in landscapes, taking up other subjects late in his career.
Hsu's attitude toward the blurring of distinctions between amateur and professional artists that enlivened eighteenth-century painting in Yangchow is ambivalent.
The Yangchow form [of] is ts'ae; the Foochow ch'a, ch'o; the Cantonese ts'o.
In the sense of 'creeper', 'to creep', the character is colloquial, and accordingly the Pekingese man' p'a-cho, the Hakka man, the Ningpo maan, the Yangchow maa, the Wenchow ma, the Foochow mang.
Giles has also omitted my carefully-elaborated acknowledgments to my Canton, Foochow, Ningpo, Wenchow, Yangchow, Hakka, and other native teachers; also my account of their individual capacities; of their "records"; of the way I went about it, &c., &c.