Bada Shanren (Zhu Da), a Ming imperial descendant who sought refuge in Buddhist and Taoist monasticism after the fall of his dynasty, is the creator of the enigmatic "Lotus, Rock, and Waterfowl" (He Shi Shui Niao Tu). As a leading figure among the "Four Monk Masters" of the early Qing Dynasty, his work is defined by an individualist spirit that rejected the standardized academic styles of the era, favoring instead a minimalist and highly personal visual language.

The artistic technique of this painting is a quintessential example of the Xieyi (freehand/expressive) ink wash (shuimo) tradition. Bada Shanren was a master of abbreviated brushwork, using as few strokes as possible to capture the essence of his subjects. His use of wet ink tonalities and spontaneity allows the lotus leaves to appear heavy and saturated, while the spindly stems and rocks are rendered with a dry-brush technique that conveys a sense of rugged resilience and age.

In terms of composition, the work utilizes precarious balance to create a unique sense of visual tension. Bada often depicted eccentric rockeries that appear top-heavy or unstable, symbolizing the fragility of existence in a changing political landscape. The strategic use of Liubai (negative space) is central to the work, where the empty paper is not merely a void but represents the silent atmosphere of a desolate pond, amplifying the solitude of the lone waterfowl.

The iconography of the waterfowl (or bird) is the most famous element of Bada's repertoire. Perched upon a rock, the bird is often shown with "upturned eyes" (baiyan), a signature motif that signifies defiance, disdain, or aloofness toward the world. This anthropomorphic feature serves as a direct reflection of the artist's political alienation and his refusal to acknowledge the Manchu authorities. The bird, like the artist, exists in a state of defiant isolation.

Historically, "Lotus, Rock, and Waterfowl" stands as a landmark of subjective expression in Chinese art. Bada Shanren’s avant-garde approach to ink and space broke new ground for literati painting, influencing generations of modern Chinese artists such as Qi Baishi and Pan Tianshou. The painting's enduring power lies in its psychological depth, transforming a simple nature scene into a profound philosophical statement on survival, identity, and the triumph of the individual spirit.