Exhibition Lecture | Paying Homage to the Eight Greats—The First Nomination Exhibition for the Inheritance of Bada Shanren’s Freehand Painting Style: The Lotus Motif and Evolution of Bada Shanren’s Painting Style

Since the launch of the “Geshan Lecture Hall,” it has received a warm response both in academic circles and among the general public, and the museum’s social education function has been put into practice and further strengthened. On September 26, 2023, the Eight Great Masters Memorial Hall specially invited Mr. Shao Xiaofeng, Director of the Exhibition Department at the National Art Museum of China, Professor, and Postdoctoral Supervisor, to deliver the fifth session of the “Geshan Lecture Hall”—a special lecture titled “Eight Great Masters’ Lotus Paintings and Their Evolution in Painting Style”—in the Memorial Hall’s Academic Lecture Hall.

Shao Xiaofeng is the Director of the Exhibition Department at the National Art Museum of China, a professor, and a postdoctoral supervisor. He has been honored with the title of “Outstanding Expert of the Ministry of Culture and Tourism.” He also serves as a visiting professor at the Central Socialism College, a researcher at the Xu Beihong Institute of Art at Renmin University of China, and a researcher at the Li Keyan Painting Academy. Additionally, he holds the positions of Deputy Secretary-General of the Professional Committee for Art Museums under the China Museum Association, Executive Director of the China Urban Sculptors Association, Member of the Committee on Art Theory of the China Artists Association, Director of the Beijing Artists Association, and Member of the China Artists Association.

The lecture was hosted by Lü Xiang, deputy director of the Eight Great Mountains Man Memorial Hall (far left).

Professor Shao Xiaofeng

In this lecture, Professor Shao Xiaofeng, through an in-depth study of Bada Shanren’s lotus motifs, reveals his exploration and understanding of the lotus—both in terms of its content and form as well as its elements and symbols—in his artistic creations. He not only analyzes the evolution of Bada Shanren’s lotus painting style but also attempts to reconstruct the historical context, thereby elucidating the connection between his art and his life.

The lecture consists of four parts. In the first part, starting from the “symbolic, allegorical, anthropomorphic, derivative, and religious characteristics” of the lotus flower in traditional Chinese culture, we will thoroughly analyze the cultural origins of the lotus flower in Chinese calligraphy and painting across various aspects.

Huai Ren’s Collection of Wang Xizhi’s “Preface to the Sacred Teachings of the Three藏 of the Tang Dynasty”:

“Just as the osmanthus flower thrives on a lofty hill, where only dew and clouds can moisten its blossoms; and the lotus rises from clear waters, untouched by even the slightest speck of dust on its leaves—this is not because the lotus itself is inherently pure, nor because the osmanthus is naturally virtuous. Rather, it is because the things to which they are attached are lofty, allowing even the tiniest creatures to fail to weigh them down; and because the environments they rely on are pure, no impurities can ever stain them.”

"Lotus Emerging from Water," by Wu Bing of the Southern Song Dynasty, Chinese painting, 23.8 cm in height, 25.1 cm in width; collection of the Palace Museum, Beijing.

The second and third sections focus on the content, form, elements, and symbols of Bada Shanren’s lotus paintings, delving deeply into his lotus works. Using numerous examples, we will progressively analyze the evolution of Bada Shanren’s lotus painting style and the patterns he employed in depicting lotuses.

In 1693 (age 67), “Lotus Flower,” the sixth piece from the “Album of Calligraphy and Painting,” measures 24.4 cm × 23 cm and is housed in the Shanghai Museum.

Ink Lotus Painting (left): 89.9 cm × 37 cm; Ink Lotus Painting (right): 178.8 cm × 92 cm. Collection of the Eight Great Masters Memorial Hall.

Part Four Examining His Art and Life Through Bada Shanren’s Lotus Paintings. Bada Shanren referred to himself as the “Master of the Lotus Garden” and later adopted the pseudonym “He Garden.” He also possessed several seals bearing the inscription “He Garden,” each with a different shape—approximately... 1698 Years later. “He” and “He” are mutually interchangeable in ancient Chinese characters. There’s also a profound implication of “the home of the He family.” Bada Shanren composed numerous poems about lotus flowers, such as the inscription on his “Lotus and Waterbird Hanging Scroll”: “I’ve heard faintly of two emerald birds…” , The returning birds have already grown their wings. Day after day, the clouds drift aimlessly. , “It must be on the lotus flower.” In “Inscriptions on Paintings of Lotus Flowers,” he writes: “Which lotus flower lacks fragrance? Which lotus stem is unfit for a cup? What good is it to live a hundred years without drinking—especially when the new wine from the cask is amber-yellow?” In “Inscriptions on Lotus Flowers,” he says: “My grandfather fondly remembers his fine young man; yet why does this young man himself remember so little? The painting and the practice pool are turned upside down—how hard he’s worked, all for its sake!” All these works vividly reveal Ba Da Shanren’s deep affection for the lotus flower and his use of the lotus as a vehicle to express profound inner thoughts and emotions.

Professor Shao Xiaofeng

Lecture scene

Professor Shao Xiaofeng delivered a fascinating special lecture, offering his unique insights and perspectives. This lecture not only provided a comprehensive and in-depth exploration of Bada Shanren’s lotus motifs and artistic style, but also presented a distinctive showcase of art’s inheritance and innovation. We believe this lecture will bring participants fresh artistic experiences and profound humanistic reflections, while further enriching the cultural depth and artistic appeal of the “Homage to Bada—The First Bada Shanren Freehand Painting Inheritance Nomination Exhibition.”