01. Bold02. Minimal
03. Spontaneous
04. Monochrome
05. Free
06. Bleak
07. Angular
08. Thoughtful
09. Sharp
10. Loud
11. Sketch-like
12. Confident
13. Conventional
14. Unconventional
15. Expressive
At first glance, Bada Shanren's Seascape with Tree and Boat looks familiar. The composition is conventional in the long history of Chinese ink painting. The arrangement of the landscape elements with the tree and rocks in the foreground, a blank space for water in the middle ground, and mountains in the background is common among many Chinese landscape paintings. In this way, the painting does not appear innovative, however the manner in which the artist executed this familiar composition is unique. Bada Shanren uses short strokes in mostly dark ink to express a gnarled tree and a mountain rising from the mist. He uses thinner ink to briefly define the far shore. He appears to use a technique similar to that of a Buddhist zen painter, which involves using the fewest number of strokes possible to communicate an object or landscape. From what I remember from art 271 about Bada Shanren, he related to the Ming royal family who was displaced by the rise of the Manchus in the Qing Dynasty. He either acted like he was insane or truly was insane. This painting could be an expression of his feelings towards his situation and that of his countrymen. The minimal, bold brushstrokes and the way he sparsely rendered the painting gives it a bleak, hopeless feeling. Fishermen and fishing boats such as the one depicted in the middle ground are usually symbols of tranquility, but the jagged, claw-like dead tree that dominates the foreground negates almost any feeling of peace the boat may symbolize. Many Chinese landscapes are majestic and grand (with a few exceptions, Ni Zan being the one I can readily name), but Bada Shanren's stark landscape makes me think he believes the glory days of the place in this image are behind it. Is this how he feels about his homeland?
I love how this piece utilizes the empty space. The blank paper is no longer just empty space, it seems to have mass and shape. It reminds me of the images where you can see both a woman and a rabbit, depending on if you are looking at the positive or negative space. At first the only thing I could see was the tree with random brush strokes surrounding it, but then as I viewed this piece longer the rest of the scenery emerged and the piece has depth. Now I keep noticing this piece and my eye is drawn in whenever I see it. Your comparison with zen buddhism describes his piece well.
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