"The World of Scholars' Rocks: Gardens, Studios, and Paintings," February 1–August 20, 2000. "Traditional Scholarly Values at the End of the Qing Dynasty: The Collection of Weng Tonghe (1830–1904)," June 30–January 3, 1999. "The Mandate of Heaven: Emperors and Artists in China," August 3, 1996–November 10, 1996. Museum für Asiatische Kunst, Staatliche Museen zu Berlin. "The Mandate of Heaven: Emperors and Artists in China," April 2, 1996–July 7, 1996. "Loan to Princeton University 2," March 1985–May 1985. "Chinese Painting and Calligraphy from the Collection of John M. 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. 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. 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. The seemingly innocuous subject, a garden pond framed by two ornamental rocks, becomes, in Zhu Da's rendition, profoundly unsettling. This painting is typical of the bold enigmatic images that Zhu Da produced during the last twenty years of his life. His is the poignant voice of the yimin, the leftover subjects of the fallen dynasty. A staunch Ming loyalist throughout his life, Bada used painting as a means of protest. In 1684 he took the biehao (artistic name) Bada Shanren (Mountain Man of the Eight Greats). About 1680 he renounced his status as a monk and began producing paintings and calligraphy in order to support himself. "It is easier to be a movie director or football player or cook, but each person has his destiny and this is mine," said Mazia.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. Making a livelihood as an artist isn't always easy, he said, but it was his calling. In addition to teaching at the Confucius Institutes in Buenos Aires and Medellin city in Colombia, Mazia takes part in the annual festivals of the local Chinese communities, including the Spring Festival and the Mid-Autumn Festival. He often incorporates bright colors into his work, reflecting "the Argentine side" of his creations. "I am an example of the fusion of these two cultures," said Mazia, explaining that his paintings and calligraphy borrow from age-old Chinese artistic traditions but are created with paint, acrylic, ink and varnish made in Argentina. Those works are serving as a cultural link between Latin America and the East Asian country. Mazia, who now teaches Chinese calligraphy and painting as well as the Chinese language, has exhibited his works in many countries including Argentina and Colombia. As for Chinese calligraphy, he called it a "very profound symbol of ancestral wisdom," and for painting, "it is like instant painting, but entails a lot of knowledge about life." There are various reasons for Mazia's enthusiasm. "I discovered it one day and I went crazy, because it fascinates me and I began to study them every day," he told Xinhua. While studying traditional Chinese medicine, Mazia was introduced to the Chinese art forms by accident more than 15 years ago. BUENOS AIRES - Artist Martin Mazia was born in the Argentine capital, but you would never guess from looking at his artwork, which features Chinese-inspired ink wash paintings and calligraphy.
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