Master Wan Ko Yee, who has immigrated to the United States from China, is a master of art of outstanding international fame. During the thousands of years of art history, never has anyone made such magnificent achievements as Master Wan Ko Yee. A pioneer in fields such as Chinese painting, Western oil painting, representational painting, abstract painting, impressionistic painting, the art of application of colors to portray realistic rock texture and rock grains, as well as sculpture, he has reached the summit of which others can only dream. He has also reached the pinnacle of achievement in the fields of religion, cosmology, philosophy, science, and literature.

The Master is, moreover, a Great Dharma King of Buddhism. Many world-renowned monastics, virtuous laypersons, and accomplished practitioners of prajna wisdom have formally acknowledged him as their master. The Master’s sublime morality is rare to find in the world. It is precisely due to his realization of the unsurpassable prajna wisdom of Buddhism that the Master has acquired erudition and penetrating understanding of the laws that govern the growth and change of everything in the universe. He has thereby attained great achievements in various fields of learning and art.

As early as 1991, the Master was awarded the title of “Master of Oriental Art.” At the award ceremony, he was described in these words: “Professor Wan Ko Yee is not only matchless in his various achievements, but also restores the 5,000 year old intrinsic culture of China.” In 1994, the 5,612 experts and scholars representing forty-eight countries and regions at the “World Poets and Culture Congress” unanimously named Master Wan Ko Yee as a “Distinguished International Master.” The certificate was signed and issued by Juan Antonio Samaranch, the then President of the International Olympic Committee.

In September of 1999, the Master was conferred a Ph.D. in Buddhism, Philosophy, Art, Calligraphy and Painting by the American League of Colleges and Universities. At the ceremony, the Master answered questions posed by deans and professors of over a dozen universities and received the highest praise. The chairman of the league declared that the Master is a publicly acknowledged great scholar of vast learning and a man of high moral character. 

Master Wan Ko Yee is the only artist awarded the position of “Fellow” by the Royal Academy of Arts in the United Kingdom in its over two-hundred-year history. The Master and his wife, Professor Yuhua Wang, currently teach at Auburn University in the U.S. With the strong support of the university, the Master has made new magnificent achievements in his practice of art.

In the beginning of the 21st Century, Master Wan Ko Yee created Yun Sculpture, which amazed international art circles. The birth of Yun Sculpture raised art to an astonishingly new height. During the thousands of years of human civilization, no one else’s sculpture actually surpassed the delicate and wonderful beauty of natural stones. The appearance of Yun Sculpture made Master Yee a pioneer in three ways:

First, creating sculptures that surpass the natural world and its beauty, he is the founder of the art of “sculpture transcending nature.” Second, after carving the material into the form of an oval boulder, the Master creates grottoes inside the boulder that portray their own beautiful, mysterious, and changing world. Many of those grottoes contain auspicious, wondrous, swirling mist. He is thus the founder of the art of creating mist through carving. Third, no matter by which skilled craftsman or master artisan, or with which scientific method, no replica can be produced of his work. Thus, he is the founder of the art of sculpture that cannot be replicated.

Beatrice Canterbury Lavery, an art connoisseur, was deeply touched by the exhibition of the Master’s Yun sculptures and remarked to the former chairman of Christie’s, Los Angeles, “I can’t believe that such mysterious and beautiful art exists in this world!” The chairman asked, “What makes those sculptures so special?” Ms. Lavery said, “It is very difficult to describe in words. That exhibition displayed the most phenomenal miniature art I have ever seen. It was like entering wondrous caves. It made one want to crawl in and be part of the scenes. All I can say is that the beauty of those sculptures is enrapturing!”

The Master’s sculptural works that connoisseurs have unanimously praised as heavenly treasures include: “A Gracefully Beautiful Horizontal Stone,” “The Beauty of a Tranquil Spirit,” “The Most Precious Song of the Buddha Dharma Assembly,” “Vines Entwine Ancient Precious Stones,” “Mystical Mist Inside a Boulder,” “Stone Shell of Wondrous Charms,” “Wonder of a Mysterious Cave,” “Yellow Yellow,” and the Yun Sculpture picture frames entitled “Empress of Heaven,” “Eagle’s Crest,” and “Precious and Rare” as well as imitation jade artwork whose colors and charm surpass nature. These all are evidence of the Master’s wisdom and merit that he has cultivated throughout countless eons of time. Because of his extraordinary and holy state of realization, he has been able to provide mankind with such artistic enjoyment.

Master Yee’s works have transcended the scope of human art and have entered the state of “divine workmanship” that harmonizes with nature. That is why the Organization of American States (OAS), composed of 34 countries including the U.S., Canada, and Mexico, sponsored the “Master Wan Ko Yee Yun Sculpture Exhibition” in 2003 at the nation’s capital, Washington, D.C. That exhibition, which catered mainly to ambassadors and American congressmen, shook the world. 

The congressmen and ambassadors all held that Master Wan Ko Yee had made a great contribution to art in the world. Marina Valery, the ambassador of the Republic of Trinidad and Tobago, highly praised Master Yee’s works. She said that his sculptures seem to be in a state of illusory change. She also said that such experience of art made one feel that the creation of those indescribable and deeply touching works had to have been completed by a hand guided by a supernatural and intangible force. Ambassador Carlos of Columbia, Ambassador Michael King of Barbados, the ambassador of Grenada, Ambassador Alma of Uruguay, and Ambassador Chase from Paraguay were all enchanted by the works in the exhibition. They paced back and forth and praised them profusely. United States Congressman Hanrahan kept nodding in front of “A Majestic and Splendid Stone” and mumbled “Amazing! Amazing!” Ana O’Brien, OAS Chief of Protocol, said, “This is surely amazing. Stunning!” Dr. John Tsu, Chairman of the White House President’s Advisory Commission on Asian Americans and Pacific Islanders, said, “It’s the divine work of Buddha. It transcends nature. No one has done it before, and no one can reproduce or imitate it.” He added, “The elder former president Bush highly praised the works after seeing them.” The Advisor to the Prime Minister of Belize said, “Many people have come here today. Each of them has praised the sculptures and was amazed at them. I have not seen one person who did not praise them. Actually, these works of art could not possibly be products of this earthly realm!” 

On October 28^th and 29^th, 2003, the U.S. Congress held an art exhibition for the first time in its history. It was called “Exhibition of Yun Sculpture Art Originated by Master Wan Ko Yee for the Benefit of Mankind” and took place at the Gold Room of the House Office Building, Congress. A continuous stream of visitors came to the exhibition, most of whom were senators, congressmen and other employees of the Congress. Hundreds of them wrote down their sincere impressions in guest books. Everyone was amazed and moved. The congressmen were so excited that they made speeches spontaneously, saying that the unparalleled and incredible aesthetics and wisdom shown in the Master’s Yun sculptures were gifts of the highest order that Master Yee brought to the world. Many people held that such works must have been inspired by some holy spirit so that the artist could bring otherworldly beauty to the human world through art. Some others expressed that Buddha or God must have worked through Master Yee to bring such heavenly treasures to the human world in order to reveal to human beings the existence of the holy dharma and lead them to the highest appreciation of art, thereby giving them inner peace.

The Chinese paintings of Master Wan Ko Yee stand on the summit of the history of Chinese painting. After spending over a year carefully researching numerous artists, we found that the famous experts and masters in the history of Chinese painting mostly inclined to a narrow specialty in their techniques, styles, and themes. Those who specialized in landscapes were less proficient at painting flowers and birds; and those who were proficient at painting flowers and birds were less talented at figure painting. Whether ancient or modern, Western or Eastern, no artist in history is comparable to Master Yee. He is able to paint landscapes, flowers, birds, fish, insects, animals, and human figures as well as intriguing abstract compositions. His techniques include heavy coloring, light touch, fine and detailed brushwork, freehand brushwork, large format composition, splash-ink, and oil painting. He has reached the highest level in all of these areas. The Master has learned from the strong points of both ancient and modern masters of Chinese painting yet does not simply follow the old path of any particular school. He has studied old paintings as well as the creations of nature, merging them to transcend the mundane. He has formed his own style, which has reached unprecedented heights in both technique and artistic conception. 

This fully reveals that the artist has realized in his artistic practice that his original nature and the universe are one body from the same source. He has thereby attained the state of a saint by having his inner world and Nature become one, embracing all of the countless universes in his heart, and holding thousands of truths constantly at the tip of his brush. His paintings have such natural charm, as if he has not made any forced touch. His vigorous and smooth strokes show intriguing appeal, elegant taste, and refined style. His works attain the divine and mark the apex of the history of painting.

The original paintings of the Master entitled “Majesty” and “Venerable Da Li Wang” were sold for US$2,125,327 and US$2,207,912, respectively, at international auctions. They not only became the highest priced paintings by any living artist in the Pacific region and Southeast Asia, but also broke the records for the highest priced Chinese paintings sold through auction. Numerous news media reported this news, praising him as truly being “a great master painter never seen before in the history of Chinese painting” and “a great person who laid the foundation for promoting Chinese painting to the world.”

The frames and jade-like plates created by Master Wan Ko Yee can be described as “embodying the essence of Nature yet surpassing the craftsmanship of Nature.” The frames of Master Yee cannot be limited to the concept of frames. They also are a particular kind of extremely exquisite and precious art. They vividly reproduce the superlative craftsmanship seen in the creation of everything in Nature yet embody what is refined rather than coarse, amplifying the ephemeral or unostentatious beauty of precious natural beings in life to the perfect zenith of art. 

For example, the Master has sculpted withered vines. They appear old, wrinkly, dry, shrunk, speckled, knotted, hoary, and graceful. From the perspective of both color and texture, it is as if thousand-year-old vines from the deep mountains and ancient forests were revealed before one’s eyes. They are so genuine-looking, they could be mistaken for vigorously climbing vines. Without any trace of artificial cut or polish, they are completely devoid of the features of the mundane world, take on the appearance of thousand-year-old antiquities, and fully display the beauty of age. The art of these sculptures is so extremely rare, they take one’s breath away. 

The Master’s sculptures of imitation jade, emerald, white-jade, ganoderma-stone, red coral, and old wood all look real and vivid in their textures, luster, colors, patterns, and shapes. Yet, they are so far superior in their exquisite, flawless and gorgeous beauty that the natural treasures cannot be their equal. Every piece is the most revered art of the highest caliber, capturing the spirit of human art. Their vivid and perfect textures and colors have reached heights that people have always been yearning for yet could not attain in the history of art. From now on, in the precious garden of art, a magic flower of heaven has bloomed.

Master Wan Ko Yee is also an outstanding man of letters. He has composed a great amount of poetry using the classical Chinese forms of shi, ci, ge and fu. He has also written many books. His writing style is elegant and classical, varying and evolving without limit. When read aloud in Chinese, his written words sound melodic, like gold knocking on jade, and when chanted flow naturally and smoothly, like floating clouds or a running stream. Here we have the honor to present translations of two of the ci poems by Master Yee, and thus to show that he truly is an outstanding and timeless master. The bold and unconstrained poem entitled “To the Tune of Nian-Nu-Jiao: Abruptly Entering the Universe” has an extensive and powerful spirit that sways the world and an expansive and transcendent poetic perspective. The gentle and graceful poem entitled “To the Tune of Ye-Ban-Le: A Night at Pu River,” on the other hand, is elegant and charming, like the enchanting moon on the Xiao and Xiang Rivers, or like water-lilies and lotuses in an autumn pond.

To the Tune of Nian-Nu-Jiao: Abruptly Entering the Universe

        Abruptly entering the universe,

        The universe of a billion universes,

        Full of hardships and obstacles.

        Seeing through glory and riches, I simply smile.

        The rooster crows announcing the dawn,

        The morning bell hurries the moon,

        The whole world is revealed.

        Everybody bustles about to survive,

        Life, like smoke and snow, gone!

        Recalling when I was young,

        I mastered the pen and the sword but liked Buddhism best.

        The lion’s roar of the Buddha shook the universe!

        Three thousand suffering patients visited me,

        Day and night I pondered their cures.

        Millions of strands of thoughts

        Slowly turn toward prajna wisdom,

        Swaying the three worlds.

        I wish that my remaining life

        Be devoted to the benefit of all sentient beings.

To the Tune of Ye-Ban-Le: A Night at Pu River

        Midnight roaming on the Pu River,

        Boarding the ship to contemplate the view:

        The banks are left far behind, vast and indistinct.

        A lively and romantic spot throughout the ages,

        The lights of ten thousand ships glow together

        And their whistles merge.

        The boundless beauty of the void.

        I feast my eyes on half a river of firefly-like lights–

        An intriguing spectacle:

        Majestic towers, like colorful precious jade.

        This scene has always attracted and enchanted sojourners–

        I remember Su Shi and recall Li Bai.

        Were they here, with graceful movements of their brushes,

        They would compose elegant verses for the world.

        Ten thousand miles of universe, like thousands of layers of satin brocade.

        From past to present, through many long years of abundance,

        On the banks strolled young men with pretty girls in bloom.

        Even beings in the Western Paradise admired the scene.

        Out of confusion and ignorance,

        Our attachment to this beauty creates heroic postures and historic relics

        Stored in Alaya Consciousness.    

        Before my eyes, flourishing life, now and to come.

        Suddenly, transcendence.

        Realizing how mundane the Xiao and Xiang rivers are–

        A subtle smile.

        Calling to mind the beauty of my travels,

        With each thought my soul emits boundless fragrance.

        To eternal prajna wisdom I return.

It is precisely due to his extraordinary talent, exceptional wisdom, sublime morality, and extensive vision that the Master is able to make one after another world-shocking achievement in art. Therefore, here, in this book, the Master employs his “supernatural abstract colors” to introduce us once more to a new world of art that is beautiful, mysterious, and soul-inspiring.

Hearing this, some may be puzzled: Western oil paintings and abstract paintings are found everywhere, yet which one among them ever fits the description “soul-inspiring”? But this truly is not just some fancy talk. As soon as you set your eyes on Master Wan Ko Yee’s “supernatural abstract colors,” you will find the bright and dazzling red, yellow, blue, white and black colors leaping and dancing, vigorous like billows sluicing over thousands of miles, yet stored up into wonders at the fine tip of a brush. Gentle yet resolute, they freely transcend worldliness. Various colors are mixed ingeniously and beautifully, distilling beauty from their mutual nourishment. One could say they present a state of superb craftsmanship excelling nature, and of form becoming flexible and elusive. Words cannot describe such harmonious, refined, and soothing artistic enjoyment.

 “Supernatural abstract color” is a perfect world composed of colors. It does not have any concrete worldly form but uses only colors to form shapes and express feelings. Color is its shape and theme, and it blends into touching charm. These colors, under the Master’s hand, suddenly converge into unparalleled, marvelous and bright magic, expressing the vivid spirit of a flowery scene or the vigor of the roaring sea. Yet, they can be ever so exact when their meaning is revealed through the tip of a brush. Their fine details are often revealed among rough strokes, and their charm is naturally displayed.

These works of art are fused with the essence of the universe, Nature, and the earth. It is not exaggeration at all to say that it is an understatement to label Master Wan Ko Yee’s art of “supernatural abstract colors” with words such as “style,” “conception,” “charm,” or “technique.” The art of the Master has already cast off the bondage of the common world. Its form and meaning are both like a golden dragon breaking away from the earth’s crust and soaring in the azure sky above the blue sea, free at will, unbridled and unrestrained, all worldly dust whisked away, ever changing, and beautiful beyond compare! In front of these soul-inspiring rare treasures of art, we admire the exceptional artistry that flows from the boundless heart of the Master. We absorb the beauty that transcends all confinements of reality, the beauty created from the Master’s use of ever changing colors for the appreciation of mankind. We can only rejoice with excitement from our hearts, for words of wholehearted praise seem totally inadequate.

We are astonished by the amazing beauty of the art of “supernatural abstract color” but not by the fact that it was created by Master Wan Ko Yee. Because the artistic talent of Master Yee is as vast and infinite as the open sea, “supernatural abstract color” is the natural crystallization of his various astonishing talents and the natural outflow of his limitless artistic wisdom. The Master truly deserves to be called a master artist the likes of which have never been seen in history. His every achievement stands at the acme of the world. Whether in religion, literature, philosophy, painting, calligraphy, sculpture, or application of color, his achievements have reached the peak of perfection. Because of that, today we can stroll in the rare and beautiful world of the art of “supernatural abstract color” and enjoy one after another ingenious work that retains Nature’s spirit and form but transcends its colors and charm.

Here this foreword comes to an end. Yet, as the publisher, we have a feeling that perhaps ninety-nine percent of the readers will think this foreword contains irresponsible remarks and outrageous flattery. However, when you see the Master’s works with your own eyes, such thoughts of yours will be washed away completely and instantaneously. Instead, you will think that we have understated the facts. Therefore, we sincerely hope that all readers will have a chance to see for themselves the various achievements and works of the Master. We believe that you will then exclaim words of praise, such as, “How magical and uniquely wonderful! Such art has never been seen before in the human world!” You will then realize that this foreword is indeed insufficient!

The 130 oil paintings collected in this book are all “supernatural abstract color,” which is only a part of the Master’s artwork. We hope that this book will provide further enjoyment to people in the ever-flowing river of art.

International Arts Publishing