Lee Man Fong
- Lee Man Fong
- Boy with Flute on a Buffalo
- Signed, stamped with a seal of the artist and dated 1951
- Oil on Masonite board
- 89.5 by 33 cm.; 35 1/4 by 13 in.
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Inspired by the canonical ink works by Chinese Master Li Keran, Lee Man Fong optically lengthens the work by painting long, sinuous tree branches spanning the height of the painting. The delineated stony terrain on the left, juxtaposed with the vacuum of space, on the right, warps the viewer’s sense of perspective and imbues a dreamlike quality to the work. Translucent blue hues provide a cool mist, a contrast to the more opaque, earthy browns used to outline the composition. Lee blankets the work with a layer of haze, as hints of lightly-painted verdure appear faintly through the negative space. The artist purposefully positions the bull and child above an invisible backdrop, suspending them in the midst of an endless, blank road.
The bull’s advancing body floats in mid-air, directly parallel to the framework of the stones and tree-bark beside it, creating the illusion that the animal and its environment are dancing in accordant synchrony. Though the boy rides a zealous, wild bull, he closes his eyes, unperturbed and oblivious to his physically precarious position. Without being overt or literal, the artist displays an unspoken dialogue of trust by subtly evoking a sense of balance and security. Concentrating on the notes and pace of his melody, the serene, young boy is entranced by his own music. The position of his legs is akin to that of the sacred lalitasana pose, or the gesture of royal ease, which appears in ancient bodhisattva images from the Tang dynasty. Harking back to a classic, godly posture engenders a sense of elegance and sublimity to the young boy’s aura.
Given the graceful camaraderie between the child, the animal and the natural environment, the journey home seems rhythmical and effortless. While Lee uses traditional Chinese techniques, he does not bind himself to their formal aspects and takes the artistic liberty to augment the work with a distinctive, personal flavor. Progressive in his approach and relentless in seeking to assimilate the sensibilities that bespeak the contemporary aesthetic, Lee Man Fong became the embodiment of the reformist Chinese painter.