Only one of the bent trees has a single fruit with some two men standing at the trunk (Zhang, Sternberg, and Rayner 14).
I personally chose the piece of art due to the artistic abilities of the painter especially considering the fact that he could paint a quality piece of art depicting an Asian religious aspect. The artist carefully and creatively chooses colors that resonate well with the culture and environment of the practice by Asian monks. Their color choice consists of red, white, blue, and green to create clarity and contrast that leads the viewers to understand what the image is all about and the implications of the image on the viewers. The artist also strikes a religious code in the viewers through their choice of the subject matter where they show religious men dressed in specific regalia of a definite color (Zhang, Sternberg, and Rayner 16).
Besides the use of distinct colors, the artist has used a circular shape as outlining the edges of the painting. Circular shapes normally depict peace and tranquility. In addition to the use of shapes, another crucial aspect about composition plays out especially at the foreground and the middle ground where the artist keenly locates the men and other natural elements like trees at specific and adjacent positions to show the interdependence and functionality of all the elements depicted in the piece of art. This helps the viewers to figure out the significance of the natural environment to the sustainability of humanity (Zhang, Sternberg, and Rayner 22).
All these attracted my attention and I believe they are a sure eye catcher for any prospective individual looking for Asian pieces of art. This is because throughout the painting, the artist has tried to maintain a smooth texture to indicate the nobble course for which the men are involved. I am particularly interested in the artist’s creativity in telling the story about the Chinese animal