鱼和岩石 - 美国大都会艺术博物馆展品查阅

品名（中）	鱼和岩石
品名（英）	Fish and rocks
入馆年号	1989年，1989.363.137
策展部门	亚洲艺术（Asian Art）
创作者	Bada Shanren (Zhu Da)【1626 至 1705】【中国人】
创作年份	公元 1699
创作地区
分类	绘画（Paintings）
尺寸	图像: 53 1/4 x 24 英寸 (135.3 x 61 厘米) 整体 with mounting: 92 1/2 x 31 1/2 英寸 (235 x 80 厘米) 整体 with knobs: 92 1/2 x 34 1/4 英寸 (235 x 87 厘米)
介绍（中）	为了掩饰自己的身份，明朝皇室后裔朱大在1644年满族征服后躲进了一座佛教寺庙。大约在1680年，他放弃了僧侣的身份，开始创作绘画和书法，以养活自己。1684年，他取了八大山人（八大山人）的"八大山人"（biehao（艺术名称）八大山人）。巴达一生都是明朝的坚定忠诚者，他用绘画作为抗议的手段。他是闺旷的凄美声音，是堕落王朝的遗留臣民。这幅画是朱达在他生命的最后二十年里创作的大胆神秘图像的典型代表。看似无害的主题，一个由两块观赏岩石构成的花园池塘，在朱达的演绎中变得令人深感不安。如果不是七条小鱼在两种岩石下游动，将空白的纸张变成水体，图像将无法辨认。其中六条鱼以剖面显示，但第七条鱼似乎从上面看，让观众迷失方向;没有地平线增加了令人不安的效果。Bada将图像视为书法设计，将大与小、实与空、重与轻并置，在平面形状和三维体积之间营造出张力，从而增强了令人不安的品质。
介绍（英）	To disguise his identity, Zhu Da, a scion of the Ming imperial family, took refuge in a Buddhist temple after the Manchu conquest of 1644. About 1680 he renounced his status as a monk and began producing paintings and calligraphy in order to support himself. In 1684 he took the biehao (artistic name) Bada Shanren (Mountain Man of the Eight Greats). A staunch Ming loyalist throughout his life, Bada used painting as a means of protest. His is the poignant voice of the yimin, the leftover subjects of the fallen dynasty. This painting is typical of the bold enigmatic images that Zhu Da produced during the last twenty years of his life. The seemingly innocuous subject, a garden pond framed by two ornamental rocks, becomes, in Zhu Da's rendition, profoundly unsettling. Were it not for seven tiny fish that swim beneath the two rock forms, transforming the blank paper into a body of water, the image would be unrecognizable. Six of the fish are shown in profile, but the seventh appears as if seen from above, leaving the viewer disoriented; the absence of a horizon line adds to the unsettling effect. Treating the image as a calligraphic design, Bada juxtaposes large and small, solid and void, and heavy and light, creating a tension between flat shapes and three-dimensional volumes that heightens the disturbing quality.