Ink Lotus after Bada Shanren 1727
gaofenghan
minneapolisinstituteofart
ink-on-paper, hanging-scroll
amateur sketch
toned paper
light pencil work
pencil sketch
ink-on-paper
hanging-scroll
pencil drawing
ink drawing experimentation
pen-ink sketch
china
watercolour illustration
pencil art
watercolor
Gao Fenghan's "Ink Lotus after Bada Shanren" (1727) is a striking example of Chinese ink painting, demonstrating the artist's mastery of the medium. The artwork, influenced by the style of Bada Shanren, showcases the elegant simplicity of a lotus flower and its leaves rendered in shades of black ink on a light background. The delicate lines and washes create a sense of tranquility, evoking the serene beauty of nature. This masterful work, housed in the Minneapolis Institute of Art, exemplifies the enduring appeal of traditional Chinese ink painting.
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Born in Shandong province, Gao Fenghan passed a special government exam in 1728 and was appointed to office in Anhui province, where he met many scholars, officials, and artists, including several from Suzhou, Nanjing, and Yangzhou. The model for this painting is the great individualist painter, Zhu Da, or Bada Shanren (1626-1705), who had a tremendous impact on Yangzhou area painters and influenced Chinese artists well into the 20th century. Wet ink has been applied in spontaneous washes that effectively capture the lushness of the lotus leaves and a wet, humid atmosphere. The formal and abstract interests of the artist, as well as his personality, are expressed in a visual performance that emphasizes the immediate emotions of the painter in spontaneously rendered images. Gao became a good friend of the eccentric Yangzhou artist Zheng Xie
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