Who painted Bamboo and Rock?

Bamboo and Rock was painted by Gu An in 1350.

Where can I see Bamboo and Rock?

Bamboo and Rock is held by National Palace Museum.

What movement is Bamboo and Rock?

Bamboo and Rock is associated with Yōga.

Artwork

Bamboo and Rock

Gu An , 1350

Bamboo and Rock is an unspecified painting by the Yōga artist Gu An. It dates from 1350 and is held in the collection of the National Palace Museum.

About this work

Overview

Created circa 1350, Bamboo and Rock is an ink painting by Gu An, a leading Yuan‑dynasty artist noted for his bamboo studies. The work presents a solitary rock in the foreground, its dark mass offset by a slender bamboo stalk that rises behind it, with faint vegetation and water suggested in the distance. The composition conveys a quiet, contemplative atmosphere.

Subject & Meaning

The painting juxtaposes the enduring solidity of the rock with the flexible vitality of bamboo, a pairing often employed in Chinese art to symbolize resilience and moral integrity. The sparse setting invites reflection, aligning with Chan Buddhist ideals that value simplicity and the natural world as a conduit for inner tranquility.

Technique & Style

Gu An employs monochrome ink washes, varying the density of the pigment to render the rock’s weight and the bamboo’s airy leaves. Brushstrokes are swift and unforced, reflecting the yoga (or yǒnggǎ) approach linked to Chan practice, which prizes spontaneous, unmediated expression over meticulous detail.

History & Provenance

The work entered the collection of Taiwan’s National Palace Museum, where it remains on display. Its provenance traces back to the Yuan court, where Gu An’s bamboo paintings were highly prized, before passing through several private hands before acquisition by the museum in the mid‑20th century.

Context

During the Yuan period, literati painters turned to subjects like bamboo and rocks to convey personal virtue amid foreign rule. Gu An’s focus on bamboo in motion reflects a broader trend of using natural motifs to articulate a scholar‑artist’s inner stance, while the painting’s restrained palette mirrors contemporary aesthetic preferences for understated elegance.