A small concentrated botanical work in the East Asian tradition — not bamboo this time but grass or iris, four separate grass clumps arranged at varying scales against blue-teal watercolor pools that suggest shallow water or wet ground. The largest clump at right is rendered with the most sustained attention: five or six tall blades in dark gray-black ink, their surfaces showing the variation in the brush's ink load as it moved from blade to blade.
The blue-teal pools beneath and around each grass clump are applied with loose abandon — the color bleeding outward from each base, suggesting roots in water, the blurring edge where plant meets wet ground. The pools vary in intensity: the largest, beneath the main clump, is deepest; the smaller ones progressively paler, as if the light is reaching them from different angles.
At the upper portion of the composition, a single larger blue wash — more atmospheric, less specifically pool-like — reads as sky or distant water seen through the grasses. The compositional organization (small grass clumps ascending toward a larger atmospheric wash above) gives the work a natural spatial recession without fully describing a landscape.
This work belongs with the bamboo and plum blossom as part of the East Asian botanical practice, though the grass subject and the blue water pools give it a slightly different character — more wetland than garden, more observation than ideal form.