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437:. The subject of his paintings were simple objects like flowers, fruits, and vegetables. From 1681 to 1684, Bada treated painting as an outlet for his emotions, particularly his dissatisfaction with his second marriage. He expanded his repertoire of subjects to include animals like birds and fish in addition to flowers and vegetables. His earliest surviving landscape paintings are dated to this period. From 1684 to 1690, Bada most frequently painted myna birds, lotuses, and rocks. From 1690 to 1694, he shifted his attention to fish, which he often depicted alone at the center of an empty composition. Starting in 1693, landscapes became a major subject of his work.
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texts and obscure variants of characters, granting only those with the same background knowledge to decipher their meaning. Most of his poems were layered with metaphors and allusions. The obscurity of his language served reflected his familiarity with the
Caodong sect of Buddhism. Bada's poems often ended with imagery.
411:
Huang
Tingjian's, while his corner strokes were sharp like Ouyang Xun's. Through the 1680s, Bada wrote in a style reflective of a balance between controlled and exaggerated forms. By 1689, he had developed his own style. Starting in 1690, Bada began to study the styles of Wei and Jin calligraphers like
336:
After the Qing dynasty takeover of China, Bada fled to a
Buddhist temple west of Nanchang, fearing for his safety given his connection to the House of Zhu, the Ming imperial family. The Qing dynasty had purged and executed Zhu Youlang and many other members of the Zhu family that ruled over the Ming.
378:
Bada's family members, including his grandfather and father, were calligraphers, whose works Bada studied from a young age. During his early years in the monastery, Bada practiced calligraphy by studying the works of Tang and Song calligraphers. Not yet settled on a style, Bada employed a wide range
646:
was a twentieth-century
Chinese painter who made copies of Bada's work. Zhang's copies can be distinguished from Bada's real works through an examination of brushstrokes. Zhang's 1930s reproductions of Bada's midlife work featured softer and more rounded brushstrokes compared to the sharp, sideways
607:
Like other late Ming painters of his time, Bada carved seals and incorporated them in his art. He came up with multiple seal designs for some of his names. For instance, eleven different seals were found for the name Bada
Shanren. As in his paintings, Bada experimented with space by leaving certain
458:
Bada started to study poetry when he was seven. The classical education that he received in his youth paved way for his own poetic endeavors, helping him amass knowledge of a wide repertoire of
Chinese literature and ancient characters. The poems that he wrote often included references to classical
449:
script. He moved the brush as he did in his calligraphy: by first straightening the tip of the brush and moving slowly and then by lifting the brush and moving more rapidly in the flying white manner. Bada's paintings from 1689 and 1690 mirrored his newly established style of calligraphy, featuring
410:
After leaving the monastery, Bada continued to study the Song calligrapher's writing, for instance copying his essay titled âPraising the Virtue of Wine.â He rendered it in a style not identical to Huang
Tingjian's but combinative of various script types. His horizontal strokes were attenuated like
349:
Around 1680, Bada left the priesthood and refashioned himself as a professional painter and poet. He was dissatisfied with his monastic life all throughout the 1670s, during which he sought relationships outside the monastic order. He met the poet Qiu Lian and Qiu's father-in-law Hu Yitang in the
251:
He spent most of his early to mid-life in the
Buddhist monkhood, returning to Nanchang when he was about fifty years old. He embarked on an artistic career soon after reentering secular life in 1680, producing works that featured his calligraphy, painting, and poetry. Most of the time, he painted
611:
In addition to carving seals, Bada often signed his work in a wide range of styles ranging from standard cursive, expressive cursive, to seal script. The names he used in his signatures roughly matched the names he used on his seals, while some names occurred only in his signatures. He sometimes
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The twenty different style and poetic names which Bada used at distinct stages of his life reflect his changing self-image. From 1653 to 1680, during his time as a
Buddhist monk, he most often used his Buddhist name Chuanqi and style name Geshan and was addressed as Xuege, or Abbot Xuege, by his
579:
The names which Bada used in his seals and signatures have been referenced to determine the chronology of his oeuvre. Like most literati painters, Bada had multiple style and poetic names that each symbolized a virtue, ability, desire, or event. In his artwork, he used these names in lieu of his
365:
feigning madness to eschew political involvement. From 1684 onward, Bada mostly stayed put in
Nanchang, devoting himself to painting and calligraphy, and in the mid-1690s built a painting studio. With his scanty earnings, he lived in a small residential quarter in the southern part of Nanchang.
584:
friends. After leaving the priesthood, from 1680 to 1684, he invented new names while keeping the name Geshan. Most of his new names contained the word lu, meaning donkey, a condescending descriptor for a Buddhist monk. From 1684 onward, Bada settled on the name Bada Shanren. A colophon to the
364:
Bada also remarried soon after returning to Nanchang in 1680 but within a few years became single, dissatisfied with the marriage. For a while, his paintings reflected his unhappiness from the failed marriage. During this time, Bada also showed signs of eccentric behavior. Many believed he was
472:
The vast majority of Bada Shanren's works â 167 out of 179 â were produced between 1684 and 1705 during Bada's sixties and seventies. His paintings were often accompanied by his poems featuring his calligraphy. Most of his works were uncolored; the few that were colored were mostly landscape
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Bada's work during the 1680s were imbued with personal emotions and political sentiments. His animal subjects often wore human-like expressions. The angular brushstrokes in his works were achieved using the side hairs of the brush. Two of Bada's rare colored works come from this period: the
415:
and incorporated them in his writing. His brushstrokes became rounded and centered, deviating from his earlier characteristic sharp strokes. Despite having established his own style, Bada remained devoted to the study of past calligraphic masters, including Wang Xizhi and the monk
547:
Album of 1694 was produced when the artist was nearly seventy years old. The sixth leaf of the album is a painting of a mandarin fish. The fish stares up at Bada's poem on the upper left-hand corner. The first two lines of the poem allude to a story written in the
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featured all three kinds of subjects. His works displayed a wide tonal range, and his brushwork was brought to the fore due to the large scale of the hanging scrolls on which he often painted. Many of his works from this period were dedicated to his monk friends.
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Bada's contemporaries would have been familiar with the mythical story behind the name of Lake Quâe, centered around the unrightful dethronement of an emperor. They would have thus seen the Quâe in Bada's poem as a metaphor for the fall of the weak Ming dynasty.
267:
in China, witnessing the Qing dynasty's conquest of the Ming dynasty and execution of the House of Zhu. In the early 1600s, around the time Bada was born, the Ming government was disintegrating from factional conflict and rebellion. Facing a rebellion led by
244:. Zhu was mentally ill and displayed erratic behavior. He was related to the House of Zhu, which was destroyed and executed by the new Qing dynasty. Fearing that he would also be purged and executed, he fled to a Buddhist temple and learned the teachings of
440:
The brushwork in Bada's paintings closely mirrored his calligraphy. The paintings from his Buddhist years featured strokes consisting of thin and strong lines â reflective of a calligraphic style modeled on Ouyang Xun's writing. His brushstrokes in the
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parts of the seal empty. The parts void of text were often two opposite corners of the seal. Bada further experimented with the composition by toying with the characters, splitting a character into two or combining two into one.
428:
Bada Shanren's earliest extant paintings were produced during his years in the Buddhist monastery where he practiced painting as a hobby. He painted according to the literati tradition, studying the styles of past painters like
320:, and his father was most likely Zhu Moujin, a painter and calligrapher mute since birth. Bada grew up under such artistic influences, studying poetry, calligraphy, and painting through his family's works. Bada also received a
552:, a book referenced by many of Bada's later works. In the story, Xie Wan elaborates on the meaning of the name Quâe, referring to the Daoist concept of âqu ze quan,â which means âto bend is to be preserved whole.â
659:
Owning the largest collection of Bada Shanren's work outside of China, the Freer Gallery of Art in Washington D.C. held multiple exhibitions on Bada Shanren in the 2000s. In 2003, it held an exhibition titled
655:
In 1986, an exhibition and symposium were held in Nanchang, Bada's childhood home, in honor of his 360th birthday. In 1991, the Yale University Art Gallery held a major exhibition of the artist's work.
481:
Bada used ink and brush on paper to render his paintings, poetry, and calligraphy. He mostly painted on small album leaves in his early years and later preferred large hanging scrolls.
316:
A descendant of a Ming imperial prince, Bada was born into a family of accomplished scholars and artists. His grandfather Zhu Duozheng was a poet, painter, calligrapher, and
473:
paintings. While his works changed in subject matter and brushwork over time, they all bore a composition that showcased his experimental approach to pictorial space.
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asked for help from the Qing dynasty to crush Li Zicheng's rebellion. The Qing then proceeded to seize Beijing, the imperial capital, and overthrew the Ming dynasty.
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Some of his artwork were metaphors on the fall of the Ming dynasty and its failure after being destroyed by the Qing. His poems often included obscure references.
942:
Mina Kim, âLotus and Birds in the Cincinnati Art Museum: Philosophical Syncretism in the Transitional Work of Bada Shanrenâ (The Ohio State University, 2012), 6.
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early 1670s. Despite his abandonment of priestly duties, Bada was still influenced by Buddhist teachings and remained close friends with several Buddhist monks.
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in 1665. Most of Bada's work from the last twenty years of his life bore the signature Bada Shanren, written either in seal script or cursive script. The album
403:, achieving the flying white calligraphic effect. Toward the end of his priesthood, Bada began to explore the exaggerated cursive script of Song calligrapher
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handscroll. In most of his early works, his subjects were only partially represented at opposite corners of the canvas, the majority of which he left empty.
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simple subjects like flowers, plants, and animals and kept most of the given space empty. Toward the end of his life, he started painting more landscapes.
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changed the form of his signature for the same name. For his signature Chuanqi, which he used from 1659 to 1676, he changed the character for
672:. In 2023 several of Bada Shanren's works, including his handscroll masterpiece "Flowers on a River," were featured in an exhibition titled,
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at the China Institute in New York City. A reduced version of this exhibition later went on to show at the Santa Barbara Museum of Art.
361:, a scholar and collector of Bada Shanren's work, the straw hat and loose, long robes make Bada look more like a scholar than a monk.
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In 1645, he joined the monastic order at the age of nineteen. He spent about thirty years in the monkhood, studying the teachings of
1408:
Flowers on a River: The Art of Chinese Flower-and-Bird Painting, 1368-1911, Masterworks from Tianjin Museum and Changzhou Museum
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dynasty in 1647, centered around Yunnan with Kunming as its capital. In 1662, the Qing dynasty and Wu Sangui executed Zhu by
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Tynon, Nadine (April 1989). "Painting and Politics: Eccentricity and Political Dissent in Zhu Da's Fish and Rocks".
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1432:"Flowers on a River: The Art of Chinese Flower-and-Bird Painting, 1368â1911 | Santa Barbara Museum of Art"
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Only eleven of Bada's surviving works were produced during his years in the Buddhist temple. These include the
592:) explains the story behind Bada's adoption of this name. According to the colophon, Bada took this name from
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During this period, Bada painted subjects ranging from flowers, animals, to landscapes. His 1694 album titled
399:. In his cursive and semicursive scripts, Bada emulated the swift and fluid brushstrokes of Ming calligrapher
1513:
321:
264:
1205:
Hui-Shu Lee, âThe Fish Leaves of the Anwan Album: Bada Shanrenâs Journeys to a Landscape of the Past,â
328:
in the early 1640s. He married his first wife in his late teens, with whom he had at least one child.
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against the new Qing government, but failed. The Qing successfully suppressed the rebellion in 1681.
668:. From 2015 to 2016, the Freer Gallery displayed fifty-one of Bada's works in an exhibition titled
632:
In the 20th century, copies of Bada Shanren's art were made and studied by Chinese artists such as
299:. Wu took control over Yunnan and established the short-lived Zhou dynasty. In 1673, Wu led the
357:, painted in 1674, reflects Bada's refashioning from a monk to scholarly artist. According to
1410:(in English and Chinese) (1st ed.). New York: China Institute Gallery, China Institute.
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Hai, Willow Weilan; Zhou, Chen; Jian, Lin; Ake Sensabaugh, David; et al. (2023).
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along with the Arthur M. Sackler Gallery which mounted an exhibition titled
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Flowers on a River: The Art of Chinese Flower-and-Bird Painting, 1368-1911
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Master of the Lotus Garden: The Life and Art of Bada Shanren (1626-1705)
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In Pursuit of Heavenly Harmony: Painting and Calligraphy by Bada Shanren
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After the Madness: The Secular Life, Art, and Imitation of Bada Shanren
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handscroll, dated 1666, were rendered like the diagonal strokes of the
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Munson, Steven C. (August 2003). "On Discovering Bada Shanren".
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391:. His standard scripts were modelled on the precisely executed
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and the styles of past masters of calligraphy and painting.
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232:), was a late-Ming and early-Qing dynasty Chinese painter,
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Perhaps there will be many beautiful clouds at sunsetâ
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Yvonne Tan, âBada Shanren (1626-1705): Art and Life,â
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Scripture of the Inner Radiances of the Yellow Court
568:I go on seeking the place where the source enters,
1371:Lorraine Adams, âNetting Bada Shanrenâs Forgers,â
324:education and passed the first-level test of the
1450:
283:The Qing also defeated Ming loyalists, known as
208:, 1674, ink on paper, Badashanren Memorial Hall.
767:. New Haven: Yale University Press. p. 13.
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379:of script types, including the standard script
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16:Chinese painter and calligraphist (1626â1705)
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670:Enigmas: The Art of Bada Shanren (1626-1705)
647:brushstrokes characteristic of Bada's work.
1207:The Bulletin of the Cleveland Museum of Art
863:The Bulletin of the Cleveland Museum of Art
598:Sutra of the Eight Great Human Realizations
559:Translation of the poem on the upper left:
1387:Munson, âOn Discovering Bada Shanren,â 61.
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763:Wang, Fangyu; Barnhart, Richard (1990).
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1267:Tynon, âPainting and Politics,â 108.
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1469:17th-century Chinese calligraphers
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979:
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420:, in the final years of his life.
14:
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518:hanging scroll from 1686 and the
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532:Birds, Flowers, and Landscapes
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222:), also known by his pen name
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81:
67:
37:
1:
1474:17th-century Chinese painters
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712:Metropolitan Museum, New York
522:album leaf from 1689.
344:
258:
1180:Kim, âLotus and Birds,â 8â9.
580:formal, or assigned, names.
575:Names, seals, and signatures
395:script of Tang calligrapher
306:
263:Bada Shanren lived during a
7:
1499:Qing dynasty Buddhist monks
1249:Lee, âThe Fish Leaves,â 75.
1240:Kim, âLotus and Birds,â 21.
1209:76, no. 4 (April 1989): 72.
780:Kim, âLotus and Birds,â 20.
467:
423:
236:, and poet. He was born in
10:
1530:
1504:Qing dynasty calligraphers
1489:Ming dynasty calligraphers
1360:Master of the Lotus Garden
1283:Master of the Lotus Garden
1168:Wang and Barnhart, 70, 74.
1082:Master of the Lotus Garden
1071:Kim, "Lotus and Birds," 9.
1060:Master of the Lotus Garden
1012:Master of the Lotus Garden
1001:Kim, âLotus and Birds,â 7.
990:Master of the Lotus Garden
976:Kim, âLotus and Birds,â 6.
953:Master of the Lotus Garden
910:Master of the Lotus Garden
811:Wang and Barnhart, 14, 50.
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326:civil service examinations
1294:Wang and Barnhart, 30â31.
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240:, in 1626, at during the
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206:Portrait of Bada Shanren
526:Works from 1690 to 1705
509:Works from 1680 to 1689
485:Early works (1659â1678)
450:vigorous brushstrokes.
383:, fully cursive script
1349:Wang and Barnhart, 34.
1335:Wang and Barnhart, 33.
1317:Wang and Barnhart, 32.
1308:Wang and Barnhart, 31.
1196:Wang and Barnhart, 66.
1159:Wang and Barnhart, 67.
1147:Wang and Barnhart, 65.
1133:Wang and Barnhart, 55.
1115:Wang and Barnhart, 48.
1093:Wang and Barnhart, 47.
1040:Wang and Barnhart, 40.
1028:Wang and Barnhart, 57.
967:Wang and Barnhart, 23.
851:Wang and Barnhart, 70.
837:Wang and Barnhart, 50.
618:Huangting neijing jing
209:
1509:Painters from Jiangxi
1494:Ming dynasty painters
312:Early life and family
204:
1514:People from Nanchang
1373:Smithsonian Magazine
495:Vegetable and Fruits
242:Ming-Qing Transition
1358:Wang and Barnhart,
1281:Wang and Barnhart,
1229:Asian Art Newspaper
1080:Wang and Barnhart,
1058:Wang and Barnhart,
1010:Wang and Barnhart,
988:Wang and Barnhart,
951:Wang and Barnhart,
908:Wang and Barnhart,
636:, Wu Changshi, and
276:committed suicide.
246:Chan (Zen) Buddhism
698:Sen-oku Hakuko Kan
590:Annals of Nanchang
565:It is named Quâe.
539:Anwan Album (1694)
355:Portrait of Geshan
272:in 1644, the last
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369:Artistic pursuits
238:Nanchang, Jiangxi
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158:Standard Mandarin
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55:Standard Mandarin
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1484:Buddhist artists
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1375:, June 2003, 37.
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586:Nanchang xianzhi
497:handscroll, the
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118:Pat-thai San-nin
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1231:, June 6, 2016.
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1396:Munson, 61â62.
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113:Romanization
68:BÄdĂ ShÄnrĂ©n
62:Hanyu Pinyin
22:Bada Shanren
1464:1705 deaths
1459:1626 births
651:Exhibitions
602:Zhao Mengfu
503:Ink Flowers
493:album, the
443:Ink Flowers
374:Calligraphy
359:Wang Fangyu
318:seal-carver
289:Zhu Youlang
1453:Categories
799:Commentary
742:References
413:Wang Xizhi
397:Ouyang Xun
345:Later life
297:strangling
270:Li Zicheng
259:Background
179:WadeâGiles
129:Birth name
76:WadeâGiles
869:(4): 102.
694:Two Birds
634:Qi Baishi
431:Shen Zhou
322:classical
307:Biography
278:Wu Sangui
1258:Lee, 70.
1084:, 46â47.
955:, 6, 13.
892:Lee, 76.
468:Overview
424:Painting
680:Gallery
389:xingshu
135:Chinese
32:Chinese
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520:Bamboo
454:Poetry
447:kaishu
435:Xu Wei
418:Huaisu
393:kaishu
385:caoshu
381:kaishu
214:Zhu Da
185:Chu Ta
171:ZhĆ« DÄ
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1062:, 57.
1014:, 38.
992:, 14.
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801:: 62.
545:Anwan
499:Lotus
477:Media
463:Works
285:yimin
1412:ISBN
543:The
433:and
353:The
229:ć
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90:IPA
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