Permanent Exhibition
Our Beloved Treasures
Throughout history, humans have grappled with life’s inevitable trials: birth, aging, sickness, and death, along with its inherent physical and mental hardships. The enduring quest to confront and transcend these realities, perhaps even achieving immortality or finding peace and contentment, remains a vital theme that has led to profound philosophical and religious ideas, vividly expressed through literature and art and serving both to evoke emotion and to impart wisdom.
This exhibition features the works of two prominent painter monks from the late Ming and early Qing dynasties: Bada Shanren (1626–1705) and Shi Tao (1642–1707). Born into royalty, they saw their lives upended by political upheavals which drove them to find refuge in religion. First, they became monks, and later Taoist practitioners, but they also devoted themselves to art. Steeped in the traditions of Zen Buddhism and Taoist philosophy, their works, including calligraphy and paintings, demonstrate a profound comprehension of nature and universal truths.
Originating in the Spring & Autumn and Warring States periods, Laozi’s and Zhuangzi’s philosophies embraced the idea that the Tao (the “Way”) mirrors nature. They suggested a strategy of inaction and harmony with the natural world, cultivating a unique philosophical view of life and death. As Taoist philosophy evolved during the Han dynasty, it integrated the Yin-yang and Five Elements theories with existing beliefs in immortality, until Taoism took form as a religion. This transformation emphasized the pursuit of personal immortality and spiritual transcendence, and at the same time created a grand pantheon of gods and celestial realms. By the Ming and Qing dynasties, as Taoism became deeply ingrained in popular culture, a wide array of deities and auspicious themes emerged. These symbolized the aspiration for longevity and worldly contentment, offering the beholder both visual appeal and spiritual comfort.
When the Ming dynasty fell, Bada Shanren (1626–1705) and Shi Tao (1642–1707), both royal descendants, turned to religion for solace. Amid the tumultuous changes, they released all the anger and agony in the tranquility of the Shanshui (landscape), where they achieved a Zen-inspired understanding of the universe and life. This profound realization deeply influenced their poetry, calligraphy, and painting.
During the transition between the Ming and Qing dynasties, Buddhism and Taoism were much intertwined and both greatly impacted the two artists. They embraced the philosophy that “the ultimate method is no-method”, a call for creativity and transformation in art. Their distinctive styles established a break from traditional imitation, positioning them as forerunners of Expressionism in the annals of Chinese art, with a lasting influence on subsequent generations.
In response to life’s struggles, sorrows, and challenges, the Taoist philosophy of going with the flow and respect for nature inspired the concept of transcending worldly existence to attain immortality. Artistic depictions of this idea include mystical celestial realms and portrayals of heavenly beings. The Bagua (Eight Trigrams) are also important motifs which symbolize Taoist practices of numerology. Moreover, during the Ming and Qing dynasties, the popularization of Taoism manifested in desires for prosperity, status, and longevity, often symbolized by auspicious animals such as cranes and deer and celebrated through festival performances of The Eight Immortals.