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Master of the Lotus Garden
Bada Shanren created one of the most compelling and distinctive bodies of graphic art in the history of Chinese culture. A prince of the Ming imperial family, he became a Buddhist monk after the Manchu invasion of China led to the collapse of the Ming dynasty. Thirty years later, when the turmoil of the conquest had passed, he returned to secular life as a painter, poet, and calligrapher. Although portrayed by his contemporaries as a mad eccentric, his art reveals a rational genius, and evidence suggests that he feigned madness to conceal his inner emotions. Despite his enigmatic character, he has had a profound influence on later generations of Chinese artists, especially those of the 20th century.
Flowers on the River
Handscroll; Ink and wash on paper; 641cm(width)*22cm(height) Flowers on the River, painted in the 16th year of Kangxi's reign, was the only long scroll that Bada Shanren painted. His paintings, poems, and calligraphies together make up a perfect, complete artistic system.This scroll's theme is the lotus. The ink splashes suggest leaves, while the calligraphic strokes depict blossoms and petals. With just a few strokes, a complex artistic conception is produced. Through the use of ink, a wide range of tonal effects is achieved, including wet, light, heavy, and dark tones in perfect combination. With his superb brush skills, Bada Shanren vividly depicts hills, rocks, streams, and driftwood. In...
The Cambridge Illustrated History of China
In this sumptuously illustrated history, now in its second edition, Patricia Buckley Ebrey traces the origins of Chinese culture from prehistoric times to the present.
Chu Ta
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Bada Shanren: Colour Plates
Bada Shanren (born Zhu Da, ca. 1626-1705) was a Han Chinese painter of ink wash painting and a calligrapher. He was of noble lineage, being a descendant of the Ming dynasty prince Zhu Quan. Art historians have named him as a leading painter of the period. Zhu Da developed a career as a professional painter, adopting a series of descriptive pseudonyms, most notably Bada Shanren by which he is most often known today. His paintings feature sharp brush strokes which are attributed to the sideways manner by which he held his brush.
Artists' Letters
Artists’ Letters is a treasure trove of carefully selected letters written by great artists, providing the reader with a unique insight into their characters and a glimpse into their lives. Arranged thematically, it includes writings and musings on love, work, daily life, money, travel and the creative process. On the theme of friendship, for example, letters provide evidence of a creative community between peers, with support and mutual appreciation that helps to dispel the myth of the artist as solitary genius. Letters between Vincent van Gogh and Paul Gauguin show an ongoing conversation and exchange of ideas. We see mutual admiration between Claude Monet and Berthe Morisot, and Picasso’s quick notes to Jean Cocteau illustrate their closeness. Correspondence, some of which includes sketches and drawings, is reproduced with the transcript and some background and contextual information alongside. The book brings together a collection of treasures found in letters, which in our digital age are an increasingly lost art.
Pa Ta Shan Jen
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In Pursuit of Heavenly Harmony
This compelling and lavishly illustrated presentation offers fresh insight into the mysterious life and works of Bada Shanren (1625-1705), the Chinese Ming dynasty master of the brush whose idiosyncratic visual vocabulary was full of personal symbolism and artistic gesture. The central catalogue of Bada's works details the significant features of each artwork, along with translations of all texts and calligraphy.
Bada Shanren
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Oceanology of China Seas
ZENG Cheng-kui (C. K. TSENG) Research Professor; Director Emeritus illStitllte of Oceanology, Academia Sillica Qillgdao 26607 J, China Ten years ago I was invited by Professor John Steele, Director of the Woods Hole Oceanographic Institute of the U. S. A. to write a preface for the special issue on "Oceanography in China" for the Oceanus. I was then the Director of the Institute of Oceanology, Academia Sinica. I gladly appreciated the honor, and in the preface I briefly enumerated the history of oceanology, or oceanography according to the American custom, in China dividing it into four stages: the founding stage 1950-1956, the growing stage 1956-1964, the partial expanding stage 1965-1978, ...
