Ba Da Shan Ren Memorial Hall

Ba Da Shan Ren Memorial Hall

The Ba Da Shan Ren Memorial Hall is located at Qing Yun Pu by Ding Shan Qiao on Mei Hu in the southern suburbs of Nanchang, about fifteen li from the city. Qing Yun Pu is a garden with distinct Jiangnan characteristics. Within the garden, centuries-old camphor trees, bitter oaks, and Buddhist pine trees stand with verdant leaves and sturdy trunks, their lush foliage sheltering the halls with blue bricks, gray tiles, white walls, and red pillars, creating an exceptionally tranquil atmosphere. The dappled sunlight filtering through the dense foliage sprinkles the pathways, casting flickering light and shadow, full of rustic charm. A lotus pond is crystal clear, reflecting the surrounding slender bamboo, with fish playing and flower shadows swaying gently. Outside the garden, a clear stream meanders, flanked by crisscrossing farmland and rural cottages with curling smoke, resembling a paradise on earth.

The predecessor of Qing Yun Pu was a Taoist temple. It is said that over 2,500 years ago, the son of King Ling of Zhou established the foundation here for the Ba Da Shan Ren Memorial Hall.

for alchemy. During the Western Han Dynasty, it was known as the “Mei Xian Ancestral Temple”; during the Eastern Jin Dynasty, the Taoist Jing Ming sect emerged, and the “Tai Ji Guan” was built. In the Tang Dynasty, it was renamed “Tai Yi Guan”, in the Song Dynasty “Tian Ning Guan”, and by the early Qing Dynasty it was designated as “Qing Yun Pu”. The site still retains the stone structures of the main gate and the second gate. The stone plaque above the main gate is inscribed with the three large characters “Qing Yun Pu”. The front and back of the second gate are respectively inscribed with “Jing Ming Zhen Jing” (True Realm of Purity and Clarity) and “Zhong Xuan Shao Zhi Men” (Gate of the Myriad Mysteries). The Taoist temple primarily consists of three courtyards connected in sequence: the “Guang Di Dian” (Guanyu Hall), “Lv Zu Dian” (Lü Dongbin Hall), and “Xu Zu Dian” (Xu Xun Hall), linked to the side halls “San Guan Dian” (Three Officials Hall), “Dou Mu Ge” (Doumu Pavilion), and “Yuan Qiao” (Round Ridge). Additionally, the two side rooms “Shu Ju” (Millet Dwelling) and “He Chao” (Crane Nest) cluster closely around. Over 300 years, the Taoist temple experienced several periods of prosperity and decline, and by the time of liberation, it had become overgrown and dilapidated. After multiple renovations funded by the government, the first ancient painters’ memorial hall in China—the Ba Da Shan Ren Memorial Hall—was established in 1959.

The Ba Da Shan Ren Memorial Hall is situated within the historically rich and scenic Qing Yun Pu. It is said that over 2,500 years ago, the son of King Ling of Zhou, Prince Ji, came here to establish the foundation and practice alchemy. In the late Western Han Dynasty, Mei Fu, the magistrate of Nanchang, resigned from office and lived here in seclusion, fishing. Later generations built the “Mei Xian Ancestral Temple” to honor him. During the Eastern Jin Dynasty, Xu Xun came here to manage flood control and initiated the Taoist Jing Ming sect, building the “Tai Ji Guan”. In the fifth year of the Tang Dynasty’s Tai He era, it was renamed “Tai Yi Guan”. In the second year of the Song Dynasty’s Zhi He era, it was renamed again as “Tian Ning Guan”, and in the eighteenth year of the Qing Dynasty’s Shunzhi era, it was finally named “Qing Yun Pu”, later simplified from “Pu” to “Pu”. The layout of the buildings in the Pu centers around the Guan Di Dian, Lv Zu Dian, and Xu Zu Dian, with the three halls progressing in sequence and connected by winding corridors, creating an extremely elegant atmosphere. In 1957, it was designated as a provincial-level key cultural relics protection unit. In 1959, it was converted into the Ba Da Shan Ren Memorial Hall, displaying the calligraphy and paintings of Ba Da Shan Ren.

The Ba Da Shan Ren Memorial Hall is a commemorative museum that integrates collection, exhibition, research, and promotion, boasting a rich collection of artifacts. The original halls have been converted into exhibition spaces, systematically showcasing the calligraphy and paintings of Ba Da Shan Ren as well as materials on his life, and frequently exhibiting masterpieces by contemporary artists. In the garden, dense bamboo groves shelter a calligraphy and painting stele corridor that displays artistic masterpieces of Ba Da Shan Ren in the form of stone carvings. Visitors immersed in this classic Chinese-style, winding-path environment with its unique charm cannot help but feel refreshed and delighted.

What an uplifting experience in such an environment full of leisurely charm and quiet beauty.

Replicas of calligraphy and paintings bearing the name of Ba Da Shan Ren, as well as ceramics, brushes, inkstones, postcards, commemorative cards, and published albums, will leave unforgettable memories for visitors.

The Ba Da Shan Ren Memorial Hall houses a rich collection. It currently features ten calligraphy and painting exhibition halls, displaying over eighty relics and masterpieces related to the life of Ba Da Shan Ren, including representative works such as “Ink Lotus Painting”, “Bird and Stone Pavilion”, “Pine and Crane Pavilion”, “Zhe Wood Eagle Painting”, “Deer Longevity Painting”, as well as representative works by Niu Shi Hui, such as “Cat” and “Chicken”. Meanwhile, the Jiangxi Province’s first ancient painters’ calligraphy and painting stele corridor, nestled among willows and bamboo, showcases over a hundred exquisite stone-carved artworks of Ba Da Shan Ren, revealing his remarkable brushwork. The newly opened photography exhibition at the Ba Da Shan Ren Memorial Hall also provides visitors with inspiring insights into tracing the footsteps of sages and masters through its exceptional photographic techniques.

Culture & Humanities

Ba Da Shan Ren was an outstanding painter of the late Ming and early Qing dynasties in China. He was born in the sixth year of the Tian Qi era of the Ming Dynasty and died in the forty-fourth year of the Kang Xi era of the Qing Dynasty (1626–1705), at the age of eighty. His surname was Zhu and given name Da; his monastic names were Ge Shan and Chuan Qi, and his alias was Ba Da Shan Ren. He was the ninth-generation descendant of Zhu Quan, the sixteenth son of the Ming Dynasty’s founding emperor, Zhu Yuanzhang. After the fall of the Ming Dynasty, he became a monk out of his unyielding resistance to the Qing Dynasty. Later, he returned to secular life and built a humble hut called “Wu Ge Cao Tang” on the outskirts of Nanchang, living a lonely and impoverished life in his later years. Ba Da Shan Ren made unique contributions to art. He was renowned for his ink wash freehand paintings, especially skilled in flower-and-bird paintings. His compositions are intricate, and the artistic conception is vast and open. His brushwork is clean, pure, bold, and expressive; his depiction of objects aims at capturing their essence, using minimal strokes yet conveying complete meaning, embodying both form and spirit, reflecting his proud, lonely, and transcendent sentiments. His calligraphy skillfully uses light ink and blunt brushes, flowing smoothly, subtle and restrained, round and mellow, and he was also adept at seal carving. His poetry and prose are often profound, quaint, and refined. For three hundred years, he enjoyed a prestigious reputation in the painting world. Painters of the Qing Dynasty’s “Eight Eccentrics of Yangzhou”, Wu Changshuo, and modern masters such as Qi Baishi, Zhang Daqian, Pan Tianshou, and Li Kuchan were all influenced by him to varying degrees.

In 1985, Ba Da Shan Ren was named one of China’s Top Ten Ancient Cultural Figures by UNESCO. In today’s art world, where various schools compete and showcase their unique styles, the exhibition of contemporary flower-and-bird masters at this museum represents an artist’s development at the sensory and intuitive level, breaking away from conventions. A group of highly skilled experts and scholars have found their own voices in inheriting and innovating the Ba Da Shan Ren style, with many works leaving a lasting impression.

The museum also displays works by other painters such as Niu Shi Hui, who is said to be Ba Da Shan Ren’s younger brother and also an outstanding artist. His paintings feature simple brushwork, a bold style, and are full of charm.

Scenic Spots

Jiangnan’s Famous Garden – Qing Yun Pu

Having endured the dynasties of Zhou, Western Han, Eastern Jin, Tang, Song, Yuan, Ming, and Qing

the site is the only well-preserved origin of the Jing Ming Taoism in Jiangxi. The halls, pavilions, osmanthus trees, lotus ponds, pavilions, moon towers, and more showcase the vicissitudes of time. Strolling through the area, one can feel the deep and mysterious essence of over two thousand years of Taoist culture. Qing Yun Pu Taoist temple now preserves many cultural relics that inspire awe: the Wanli Ancient Well, Immortal Bridge, Jing Ming Zhen Jing, He Chao Shu Ju, Wang Xizhi’s Ink Pond, Bamboo Path Through the Shade, Ling Yun Lai Ge (Pavilion Where Clouds Come Over the Ridge), and the tomb of Ba Da Shan Ren offer visitors opportunities to explore antiquity and enjoy the charm of history, making it hard to leave.

Ancient Qing Yun Pu is a green jewel embedded in the southern suburbs of the city. In spring, red tea blossoms and peach flowers compete in beauty; in summer, lotuses fill the area for miles; in autumn, osmanthus fragrance wafts through the air; and in winter, plum blossoms bloom bravely against the cold. The centuries-old towering trees such as camphor, Buddhist pine, and bitter trees are hailed as treasures of the garden by literati and artists throughout the ages. Nanchang’s longest surviving double-sided stele corridor features over 120 calligraphy and painting works inspired by the heart and shaped by the mind, revealing the extraordinary brushwork career of Ba Da Shan Ren. The ever-changing corridors and exquisitely carved stone artworks bring refreshing aesthetic pleasure to visitors.

Architecture

Qing Yun Pu

was originally a historically significant and scenic Taoist temple. Since ancient times, it has been a renowned scenic spot for visitors and is now converted into the “Ba Da Shan Ren Memorial Hall”. It is said that in the sixth century BC, the son of King Ling of Zhou, Jin, came here to establish the foundation and practice alchemy. In the late Western Han Dynasty, Mei Fu, the county magistrate of Nanchang,

resigned from office and lived here in seclusion, and later generations built the Mei Xian Ancestral Temple to honor him. During the Jin Dynasty, Xu Xun came here to manage flood control, set up a preaching platform, and built the Tai Ji Guan. In the fifth year of the Tang Dynasty’s Tai He era (831 AD), Governor Zhou Xun petitioned to build the Tai Yi Guan. In the second year of the Song Dynasty’s Zhi He era (1055 AD), it was renamed Tian Ning Guan. In the eighteenth year of the Qing Dynasty’s Shunzhi era (1661 AD), Zhu Da (alias Ba Da Shan Ren), the tenth-generation descendant of Emperor Taizu Zhu Yuanzhang of the Ming Dynasty, came here to live in seclusion. Inspired by the phrase “Lü Chunyang riding the green clouds descending,” he renamed it Qing Yun Pu, and later

symbolically changed the name from Pu (garden) to Pu (genealogy), implying the transmission of the Ming imperial family genealogy through the green clouds. Since then, Qing Yun Pu has been associated with the tumultuous life of Ba Da Shan Ren and his calligraphy and painting art.

After the fall of the Ming Dynasty, Ba Da Shan Ren, in pain over the loss of his country and home, became a monk or a Taoist priest, sometimes pretending to be mad or mute, avoiding contact or conversation with others. He had many names, and when the four characters of “Ba Da Shan Ren” were written together, they sometimes resembled “crying it” and other times “laughing it,” expressing his mood while writing. Ba Da Shan Ren never painted a single flower or rock for the dignitaries of the Qing court, but he readily created works for poor farmers and commoners. In the seventeenth year of the Kang Xi era (1678 AD), Hu Yitang, the magistrate of Linchuan County, tried to recruit him to serve the Qing court, but he pretended to go mad and tore up his monk’s robes.

In the early Qing Dynasty’s art scene, Ba Da Shan Ren used concise and unrestrained brushwork to express his stubborn and proud character, venting his dissatisfaction and indignation toward the ruling class. His works were grand and deeply moving. The famous painter Zheng Banqiao praised Ba Da Shan Ren’s paintings in an inscription, saying: “Thousand strokes of splashes and smears, with few ink dots but many teardrops.”

The current Qing Yun Pu architectural complex is largely similar in scale and style to the Taoist temple rebuilt during the Guangxu era of the Qing Dynasty. The layout of the buildings centers around the Guan Di Dian, Lv Zu Dian, and Xu Zu Dian, with the central part of the halls being the Abbot’s Hall. The three halls progress in sequence and are connected by winding corridors, creating a very serene atmosphere.

The old main gate of Qing Yun Pu is located at the western end of the wall, a majestic stone memorial archway with the stone plaque “Qing Yun Pu” hanging above. Behind the gate is the handwriting of Ba Da Shan Ren reading “Zhong Xuan Shao Zhi Men”. The lintel of the second gate is inscribed with the four characters “Jing Ming Zhen Jing”. To the left of the Abbot’s Hall is “Shu Ju”, and to the right is “He Chao”, with his handwritten couplet hanging on the wall: “Every word of wit aligns with the Dao; every stroke of literary brilliance remains inseparable from Zen.” The front and rear three halls and the Dou Mu Ge to the right serve as exhibition rooms for the calligraphy and paintings of Ba Da Shan Ren and his younger brother Zhu Shi Hui. Exiting the exhibition rooms through the south side door, one encounters pavilions, waterside pavilions, rockeries, small bridges, flowers, trees, and streams, all cleverly arranged according to the terrain and naturally formed scenery, complementing each other harmoniously.

The old main gate of Qingyunpu is located at the west end of the surrounding wall. It is a grand stone memorial archway with a stone plaque hanging above inscribed with “Qingyunpu.” Behind the gate is a calligraphic work by Bada Shanren that reads “Gate of All Mystics and Young Disciples.” The lintel of the second gate is engraved with four characters: “Pure Bright True Realm.” To the left of the Abbot’s Hall is “Shu Ju” (Millet Residence), and to the right is “He Chao” (Crane Nest). On the walls hang a couplet handwritten by Bada Shanren: “In every word and deed lies harmony with the Dao; in every stroke of writing dwells the spirit of Zen.” The front and rear halls, along with the Doumu Pavilion to the right of the garden, serve as exhibition rooms for the calligraphy and paintings of Bada Shanren and his younger brother Zhu Shihui. Exiting the exhibition rooms through the south side gate, you’ll find pavilions, waterside kiosks, rockeries, small bridges, flowers, trees, and streams skillfully arranged to complement the natural terrain—each element enhancing the other in a harmonious composition.

At the memorial hall, visitors can also pay their respects at the cenotaph and statue of Bada Shanren.

Painter Introduction

One photo of Bada Shanren’s portrait (1 photo) | Bronze statue of Bada Shanren

Bada Shanren

, whose given name was Zhu Da and who lived from 1626 (the sixth year of the Tianqi era in the Ming Dynasty) to 1705 (the 44th year of the Kangxi era in the Qing Dynasty), was the ninth-generation descendant of Zhu Quan, the 16th son of the founding emperor of the Ming Dynasty, Zhu Yuanzhang. As a child, he was exceptionally intelligent, well-versed in Confucian teachings, and received excellent artistic training, living a noble life befitting royalty. However, the transition of power following the fall of the Ming and the establishment of the Qing regime delivered a devastating blow to 19-year-old Zhu Da. He shaved his head and became a monk, converting to Buddhism and devoting himself to spiritual practice, eventually earning the title of “master after many years of upholding the dharma.” Later, he returned to secular life and devoted himself to painting and calligraphy, integrating Confucian, Buddhist, and Daoist philosophies into his art. A unique blend of a survivor of the fallen dynasty, a Zen master, and a painter, he stood out in the art world with his extraordinary style and transcendent brushwork, becoming a pivotal figure in art history. Bada Shanren’s works are profound, serene, otherworldly, and naturally sublime. His ink splash-style flower-and-bird paintings are celebrated for their simplicity and expressive power—achieving immense depth with minimal strokes—and have been widely acclaimed. For example, “Lonely Pine Painting” is executed in one continuous stroke from top to bottom, using relatively few brushstrokes yet exuding great momentum, solitary and elegant, combining softness with underlying strength, and featuring an extraordinary posture. It bears an inscription by Mr. Wu Changshuo, who described Shanren’s painting as “timeless and transcendent, without any superfluous or excessive strokes,” refined to the extreme. With extremely minimal strokes, he captured the complex form of the pine. This is one of Bada Shanren’s major representative works. Another example is “Double Eagles Painting,” a masterpiece from his later years depicting eagles. Inspired by the great Ming Dynasty painter Lin Liang, it shows two eagles on withered branches and precarious rocks, looking at each other and gazing up and down, fully displaying their heroic bearing. As a leading figure among the “Four Great Monk Painters,” innovators of the early Qing painting scene, Bada Shanren’s character and artistry have inspired generations of painters over the past three hundred years, including the “Yangzhou School,” Wu Changshuo, Qi Baishi, Pan Tianshou, Zhang Daqian, and Li Kuchan. His artistic legacy remains enduring and influential.

A form of extreme complexity. This is one of Bada Shanren’s important masterpieces. Another example is *Eagles*, a late-career masterpiece depicting two eagles. Inspired by the great Ming dynasty painter Lin Liang, the painting shows two majestic eagles on withered branches and perilous rocks, gazing at each other. With a tilt of their heads, their heroic bearing is fully revealed. As a leading figure among the “Four Monks,” innovators in the early Qing painting scene, Bada Shanren’s character and artistic vision have inspired generations of painters over the past three hundred years—including the “Yangzhou School,” Wu Changshuo, Qi Baishi, Pan Tianshou, Zhang Daqian, and Li Kuchan—demonstrating enduring artistic vitality.

Collection Highlights

Plaque inside the hall

The Bada Shanren Memorial Hall is a commemorative museum that integrates collection, exhibition, research, and promotion, boasting a rich collection of artifacts.

The original halls have been converted into exhibition spaces that systematically display Bada Shanren’s paintings and calligraphy, as well as materials about his life. The venue also regularly exhibits works by contemporary masters. Currently, the museum houses ten painting and calligraphy exhibition halls, showcasing over eighty treasured pieces related to Bada Shanren’s life and art, including representative works such as “Ink Lotus Painting,” “Birds and Rocks Pavilion,” “Pine and Crane Pavilion,” “Partridge Eagle on Zhe Wood,” “Deer and Longevity Painting,” as well as key works by Niu Shihui such as “Cat” and “Chicken.” Meanwhile, Jiangxi’s first ancient painter stele corridor, nestled among willows and bamboo, displays over a hundred exquisite stone-carved artworks of Bada Shanren’s paintings and calligraphy, highlighting his refined carving artistry. The newly opened photography exhibition at the Bada Shanren Memorial Hall also provides visitors with inspiration for seeking traces of these eminent artists through its exceptional photographic techniques. In the garden, dense green bamboo frames a calligraphy and painting stele corridor that presents Bada Shanren’s artistic masterpieces in stone carving form. Visitors immersed in this classic Chinese-style, tranquil, winding, and uniquely whimsical environment are sure to feel refreshed and uplifted. Reproductions of paintings and calligraphy under Bada Shanren’s name, along with ceramics, brushes, inkstones, postcards, memorial cards, and published albums, leave unforgettable memories for all visitors.

Transportation and Ticket Information

Visiting the museum is very convenient and affordable. Public buses such as Tourist Line 2, Bus 20, Bus 203 (outer line), and Bus 224 go directly to the Bada Shanren Memorial Hall. Admission is free upon exchanging valid identification for a ticket.

Zhu Da (1626–1705), also known as Bada Shanren, was an outstanding master of freehand brushwork painting in China during the late Ming and early Qing dynasties. Born in 1626 (the sixth year of the Tianqi era in the Ming Dynasty) and died in 1705 (the 44th year of the Kangxi era in the Qing Dynasty), he was named Zhu Da and was the ninth-generation descendant of Zhu Quan, the 16th son of the founding emperor of the Ming Dynasty, Zhu Yuanzhang. He was exceptionally gifted from childhood and received a strong artistic education. By the age of eight, he could compose poetry, and by eleven, he could paint blue-green landscape paintings and write small regular script in Mi Fu’s style with his wrist suspended. He also attended official schools as a student.

When Bada Shanren was in his teens, the Ming Dynasty fell and the Qing Dynasty was established. The collapse of his country and family dealt him a heavy blow... More detailed information about Zhu Da ++

Further Reading:

· National First-Class Museum of China