Before Bali was a breeding ground for local painting workshops, Affandi would assemble budding artists under big, bushy Banyan trees to initiate dialogue, exchange philosophies, and ultimately, build a community of literati. Under this enveloping umbrella of foliage, fresh ideas were shared, people were enlightened, and a fervent group of young intellectuals was born. Across myriad cultures, religions and eons, the Banyan tree has personified knowledge, enlightenment and life.

As a country at the cusps of tumultuous change during the Dutch occupation, Second World War, nationalist struggle, revolution and nation building, the Banyan tree was a refuge of shade and shelter in Indonesia. It became a symbol of hope and creative power. Encased in a cocoon of long-reaching branches and rich foliage, impassioned like-minded individuals engaged in discourse and exchanged philosophies, fostering lasting friendships that would weather many storms.

The Banyan tree subject is synonymous with Affandi. Painted in 1971 when Affandi had already developed and mastered his iconic painting style, this Banyan tree comes to life with thick, visceral paint that delineates the swirling motion of the foliage, enlivening its ancient and writhing forms.

A magnificent force to be reckoned with, Banyan Tree is painted with Affandi's signature technique. He squeezed paint directly from its tube onto the canvas, diminishing the barrier between the painting and the self by eradicating the need for a paintbrush. He used his hands to disperse the wet pigments across the surface of the work, permeating it with his personal dynamism and innate emotions.

早在峇里出現大量油畫工作室之前，阿凡迪就與一眾嶄露頭角的藝術家相約在茂盛的大榕樹下展開對話，分享彼此的藝術哲思，從而建立文藝社群。這些新晉藝術家在婆娑樹影之間激盪全新意念，互相啟迪，孕育出熱情澎湃的年輕文人圈。長久以來在眾多文化和宗教中，榕樹都是知識、啟迪和生命的象徵。

縱觀印尼的歷史，這個國家經常站在風口浪尖上，遭遇多番動盪與巨變，先後經歷荷蘭佔領、二次世界大戰，以至民族主義鬥爭、人民起義和建國。在種種紛亂混沌之間，榕樹一直為印尼提供庇護和遮蔭，成為希望和創造力的象徵。在榕樹茂盛翠綠枝葉的庇蔭下，志趣相投的創作人熱情地互相交流，分享哲學理念，孕育出能維繫畢生的友誼，克服日後的滄海桑田。

榕樹可謂阿凡迪畫作的代名詞。此作創作於1971年，阿凡迪此時已發展出和駕馭了其代表性的油畫風格。他以厚塗顏料為畫作注入發自內心的情感，營造樹葉迴旋的動態，讓茂盛的老榕樹更顯朝氣，栩栩如生。

《榕樹》中，阿凡迪以標誌作畫技法勾勒令人敬畏的巨大榕樹，他直接把顏料擠在畫布上，放棄使用畫筆，消除油畫與自身之間的隔閡。他用雙手在畫作表面塗抹濕濡的顏料，讓畫作瀰漫個人情感，展現獨特的動勢。