Zhen, Wu (attributed to) (14th century). Bamboo in the Wind [ink on paper]. Chinese and Japanese Special Fund. Museum of Fine Arts, Boston.

Bamboo in the Wind is a beautiful, subtle work that presents its subject matter effortlessly. What amounts to a mass of short, oblique strokes contrasted with long, vertical, gracefully curving ones expertly presents bamboos and leaves in a storm. | 


The subject is bamboo trees gently bowing to a windy storm. A downpour is not elementally rendered, but the presentation of the subject is done with such grace that it doesn’t need to be. The impression of witnessing these moments in a storm is simply a reaction on the part of the observer; tension builds in the chest and muscles. Beyond the careful treatment of the scene, this is accomplished with ink wash on paper.

The beauty of this scene is built through three primary elements: Short, wide, horizontally-oriented strokes; gracefully curved vertical strokes; and value, which is treated with the most sensitivity in the scene, and gives the impression of a downpour. Vertically oriented characters on the bottom right portion of the picture plane seamlessly bind with the values of the swaying trees. The way space is created reflects the elegance of this work. For this, two attributes are used: value and texture. Both are calibrated to perfection; value is the primary space-establishing element, texture is subordinate due to its subtlety. 

This work is nearly symmetrical, vertically and horizontally balanced, resulting in four equivalent quadrants. Yet, in spite of this strategy that runs a risk of monotony, it is far from static. The effortless balance it achieves is consistent with the overall grace of the work. The natural and man-made (characters) elements are juxtaposed. Line treatment communicates a balance between fragile, graceful elements and unyielding, dense ones. The crisscross pattern built by the leaves, “reading” them from left to right, creates the impression that they are smacking against each other in the wind; time is established in an extended moment. 

This work is a case study in organic unity. I would make the argument that it requires more elements because so few are used. This simply does not apply. Economic perfection is achieved. The viewer is witnessing the struggle of these stalks resisting the weather, almost within arm’s reach of them. One gets the impression they could step into the picture plane, and after a few steps see the next patch of bamboos hidden by the sheets of rain.