Little is known of Juran other than that he was a Buddhist priest (Juran is a priestly name—his family name is never mentioned) and that he worked for the court of the southern Tang in what is now Nanjing. In 975 or shortly thereafter, he followed Li Houzhu to the Song capital Bianliang and gradually gained a reputation as a painter. He was supposedly a follower of Dong Yuan, a similarly little-known painter of the Five Dynasties in the court at Nanjing. No certain authentic works survive, but those considered to be in his style and in that of his teacher Dong make use of relaxed fibrous brushstrokes, wet ink washes, and rounded contours. The works are evocative of the landscape of southeast China. The two artists became increasingly revered in later ages by critics who saw in their softly evocative paintings the paradigm of the attitude that would characterize the literary man (wenren).