{"title":"Bada Shanren Prints","description":"\u003cp\u003eFine art prints by Bada Shanren. Every work in our Bada Shanren collection is printed to order. Archival giclée on Hahnemühle fine art paper. Free worldwide shipping.\u003c\/p\u003e","products":[{"product_id":"bada-shanren-fish-and-rocks-chinese-ink-painting-art-print","title":"Bada Shanren — Fish and Rocks | Chinese Ink Painting Art Print","description":"\u003cp\u003eTwo rocks hold a sheet of bare paper: a tall, peaked outcrop hanging in from the upper left, drawn with a few broad, wet strokes, and a heavy boulder blotted in dark ink at the lower right, resting on a flat ledge. A handful of tiny fish dart through the open space between them. A cursive inscription with red seals runs down the upper right, and a column of small script with more seals lines the left edge. Painted in ink as a hanging scroll and dated 1699.\u003c\/p\u003e\u003cp\u003eThe original: hanging scroll, ink on paper, dated 1699, The Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eBada Shanren (1626–1705), born Zhu Da, was a Chinese painter, calligrapher and poet from Nanchang in Jiangxi, a descendant of the Ming imperial house. After the Ming fell to the Qing he became a Buddhist monk for some thirty years, returning to lay life around 1680; accounts describe erratic behaviour, including a time when he refused to speak. His paintings, mostly in ink monochrome, set fish, birds, rocks and flowers against wide empty paper in a few wet strokes, the creatures often glaring; late in life he also painted landscapes after the tenth-century painters Dong Yuan and Juran. With Shitao he is counted among the Individualist painters of the early Qing. His work is held by the Metropolitan Museum of Art and the Cleveland Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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One stands upright on a ledge at the upper left, head turned to the right, its wing feathers laid in bold dark strokes; the other crouches on a rounded boulder below, head low and turned to the left. A gnarled branch reaches in from the top edge with a few sparse leaves. A column of brushed inscription with red seals sits at the upper left. The scroll is dated 1702.\u003c\/p\u003e\u003cp\u003eThe original: hanging scroll, ink on paper, dated 1702, The Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eBada Shanren (1626–1705), born Zhu Da, was a Chinese painter, calligrapher and poet from Nanchang in Jiangxi, a descendant of the Ming imperial house. After the Ming fell to the Qing he became a Buddhist monk for some thirty years, returning to lay life around 1680; accounts describe erratic behaviour, including a time when he refused to speak. His paintings, mostly in ink monochrome, set fish, birds, rocks and flowers against wide empty paper in a few wet strokes, the creatures often glaring; late in life he also painted landscapes after the tenth-century painters Dong Yuan and Juran. With Shitao he is counted among the Individualist painters of the early Qing. His work is held by the Metropolitan Museum of Art and the Cleveland Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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At the upper right the artist's cursive inscription runs down beside red seals, and further red seals sit in both lower corners. Painted about 1694 in ink on paper.\u003c\/p\u003e\u003cp\u003eThe Minneapolis Institute of Art reads these chicks as a likely statement of loyalty to the fallen Ming dynasty and contempt for its Manchu successors; the two birds face complementary directions yet do not look at each other. The inscription dates the painting to the nineteenth day of the third lunar month, the anniversary of the day in 1644 when the last Ming emperor hanged himself as rebel forces approached the capital.\u003c\/p\u003e\u003cp\u003eThe original: ink on paper, about 1694, Minneapolis Institute of Art.\u003c\/p\u003e\u003cp\u003eBada Shanren (1626–1705), born Zhu Da, was a Chinese painter, calligrapher and poet from Nanchang in Jiangxi, a descendant of the Ming imperial house. 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Broad pale grey blots suggest lotus leaves, a thin stalk curves across the lower left, and at upper right a spotted bird with a long pointed bill perches on a stem. Ink on satin, about 1690.\u003c\/p\u003e\u003cp\u003eThe original: handscroll, ink on satin, about 1690, The Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eBada Shanren (1626–1705), born Zhu Da, was a Chinese painter, calligrapher and poet from Nanchang in Jiangxi, a descendant of the Ming imperial house. After the Ming fell to the Qing he became a Buddhist monk for some thirty years, returning to lay life around 1680; accounts describe erratic behaviour, including a time when he refused to speak. His paintings, mostly in ink monochrome, set fish, birds, rocks and flowers against wide empty paper in a few wet strokes, the creatures often glaring; late in life he also painted landscapes after the tenth-century painters Dong Yuan and Juran. With Shitao he is counted among the Individualist painters of the early Qing. 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