He Qi’s “Good Samaritan” depicts a key moment in the parable — the moment when the Samaritan loads the Jewish victim of a robbery onto his donkey for transport to a nearby inn. The victim, head inverted, dazed eyes peering dully into our own, is held on the beast by the Samaritan’s hand. Perhaps the direct gaze asks us to imagine ourselves as the beneficiary of someone’s largesse. The Samaritan, himself or herself, looks off to the distance, possibly planning his course toward a place to get help. In the background we see two of the story’s “villains,” noses in the air as they go about their business after ignoring the victim as he lay naked and bleeding on the road. The donkey offers a comical and quizzical look at his master, surprised at the load he is being asked to carry.
The Good Samaritan, by He Qi
The Good Samaritan, by He Qi
The Good Samaritan, by He Qi
He Qi’s “Good Samaritan” depicts a key moment in the parable — the moment when the Samaritan loads the Jewish victim of a robbery onto his donkey for transport to a nearby inn. The victim, head inverted, dazed eyes peering dully into our own, is held on the beast by the Samaritan’s hand. Perhaps the direct gaze asks us to imagine ourselves as the beneficiary of someone’s largesse. The Samaritan, himself or herself, looks off to the distance, possibly planning his course toward a place to get help. In the background we see two of the story’s “villains,” noses in the air as they go about their business after ignoring the victim as he lay naked and bleeding on the road. The donkey offers a comical and quizzical look at his master, surprised at the load he is being asked to carry.