As the moon sets, the horse ornaments jingle on its way,

Inside, the embroidered flowers are connected, creating a spring-like atmosphere.

A coiled dragon adorns the jade platform mirror,

Only waiting for the one who paints the eyebrows.

A poem of Shaobo (Wang Changling, 698-755).

Bada Shanren (1626-1705) is recognized as one of the foremost expressionist painters in the history of Chinese art. Born into the imperial family of the Ming dynasty, he faced significant upheaval following the dynasty’s collapse, which compelled him to adopt a monastic life. His existence was marked by profound ideological conflicts, encompassing the societal transformations during the late Ming period, introspections and uncertainties related to monastic existence, his engagement with the Zen doctrines of the Caodong and Linji schools, and his persistent deliberations on the prospect of returning to secular life. These intellectual and spiritual struggles are deeply embedded in his oeuvre, offering a plethora of enigmas for scholars and serving as a wellspring of inspiration for subsequent artistic endeavors.

This particular piece depicts a pair of mandarin ducks nestled on a rock, showing Bada Shanren’s signature upward-looking white eyes, gazing at the lotus leaves and flowers extending from behind the rock in the upper left. In the upper right corner of the painting, there is an inscription of a poem by Tang dynasty poet Wang Changling (698-755), cleverly echoing the profound meaning implied by the mandarin ducks in the painting, seemingly reflecting some of Bada Shanren’s own melancholy thoughts at the time.