During Qianlong’s fifth imperial southern inspection tour, a Zhejiang resident named Jin Deyu presented the emperor with an one-hundred-leaf album titled Taiping huanle tu (The Album of Happiness in a Peaceful Age). The paintings featured figures holding various occupations as a way of showing the native products and customs of the Zhejiang region, thus representing the Qianlong reign as one of great peace. Historians have praised its detailed depiction of everyday life, while art historians have pointed out that the representations of the figures’ occupations, based on cityscapes and fengsu hua (genre paintings), held political implications. But how could various occupations symbolize a peaceful regime? How did the album differ from the so-called fengsu hua of the time which also featured figures engaging in different livelihoods? Precisely what kind of “peaceful regime” was constructed by Jin Deyu? Did he as a result of commissioning the album succeed in advancing his official career? By contextualizing Jin’s presentation of the album to the emperor and comparing the album to other related paintings, this article argues that the making and reception of Taiping huanle tu as well as its construction of “a peaceful regime” drew from Jin’s personal experience, his circle, the Zhejiang region as well as the inter-relationship between the empire, provinces and the frontiers. This case study further explores the differences among the so-called fengsu hua of late imperial China and their meanings.