At year February 2007, this Year of the Ox (by H.H. Dorje Chang Buddha III) painting was exhibited at an auction in the Hua Zang Si Temple in San Francisco. Even though I saw it online, when I saw this work in person that year, I was suddenly transported into a world of pure and poetic spirituality.
The ox strolled leisurely, Looking up to admire the scenery. On the ox’s back, a young herder, Humming a tune, Enjoying a unique sense of freedom. Though there was no verbal communication, There was mutual companionship, Dependence on each other.
Later, I saw this painting again at The International Art Museum of America in San Francisco. It was as if I were re-experiencing the long-lost joy of childhood innocence, and I couldn’t help but stop and admire this exquisite masterpiece.
The entire composition of the painting is concise: an ox, a flute, a young herder on the ox’s back, a few simple strokes representing tree branches, and a hint of green. The old ox was covered in glistening sweat, and no matter where or when, it remained calm, with steady steps and a high head, as if filled with determination and strength for the journey of life. The young herder reclined comfortably on the ox’s back, at ease and trusting that the old ox would take him where he wanted to go. Urban dwellers fortunate enough to witness such a rare and beautiful scene would find their tense hearts instantly relaxed.
In terms of technique, this Chinese painting exhibits remarkable simplicity, featuring an expansive and open composition coupled with unique and striking artistic techniques. The skillful use of white space within the artwork, thanks to clever design choices, not only avoids diminishing or dulling the image but also creates boundless room for the viewer’s imagination to roam. Additionally, the artist employed a scattered perspective technique to lend the painting a three-dimensional quality, skillfully using emptiness to convey form. The seamless integration of form and emptiness results in an exceptionally elegant layout.
This painting serves as a testament to the artist’s ability to convey the inherent charm of nature and capture the essence of a pure and childlike spirit, offering solace and enjoyment to its viewers. What is particularly astonishing is the meticulous application of ink at a minute level, portraying the oxen’s hairs in an array of intricate variations.
Although the painting does not depict the colors of early spring, mountains, valleys, or springs, they seem to be faintly visible on the canvas. It’s said that by calculating white as black and using emptiness as a form of depiction, the simplicity of the image leaves room for endless beauty and boundless imagination. This painting beautifully exemplifies the traditional Chinese cultural principle that ‘The Dao resides in simplicity.’ It evokes thoughts of the legendary tale of Laozi departing China on a green ox through the Hangu Gate in pursuit of Sakyamuni Buddha.
Having been in the hustle and bustle of the city for a long time, one longs for the tranquility of the countryside. But once in the quiet countryside, one can’t bear the loneliness and solitude. The restless heart can’t resist the temptation of the bustling world and constantly seeks outward under the pull of desire. When lost and falling into despair, one realizes that this is not the life one truly desires.
In reality, the ideal paradise is not far away; it resides in the inner tranquility and practicality of the present moment. Just like the young herder and the old ox in the painting, tranquility and boundless joy are always found in the present moment.
Link:https://peacelilysite.com/2023/09/15/niu-nian-tu-year-of-the-ox/
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Source: https://baijiahao.baidu.com/s?id=1760888707241544465
Peace LiLy 