Li Chen (B. 1963), Avalokiteśvara

Avalokiteśvara
1999

incised with the artist's signature in Chinese and English and numbered 5/30 on the reverse
bronze

49 x 23 x 41 cm (19 5/16 x 9 1/16 x 16 1/8 in)

This work is number 5 from an edition of 30 and is accompanied with a Certificate of Authenticity issued by Asia Art Center, Taipei.

Provenance
Asia Art Center, Taiwan
Acquired from the above by the present owner

李真
大士
銅雕
1999年作

簽名雕刻：李真 Li Chen（背面）
版數：5/30

附亞洲藝術中心開立之原作保證書

來源
台灣亞洲藝術中心
現藏家得自上述來源

Li Chen's sculptural language is deeply rooted in his profound connection with the Buddhist and Taoist traditions. Titled Avalokiteśvara, the present work sublimely exemplifies the Taiwanese artist's ongoing dialogue with the spiritual based on the very existence of material nature. Avalokiteśvara is the most widely revered bodhisattva in the Buddhist pantheon and is identified specifically as the embodiment of compassion. Created in 1999, the rotund sculpture exudes an unperturbed demeanour of benevolence. Beneath its subtle smile and serenely closed eyes, a sense of harmony and soundness is present with a touch of noble modesty. At the same time, Li infuses contemporary perception into his artistic practice, as shown in his unique style that dexterously incorporates both oriental charisma and western geometric aesthetics.

As one of the artist's signature bronze sculptures that are known for being heavy but appear light, the present work is polished with traditional black lacquer that evokes a delusive impression of weightlessness. The seemingly simplistic black surface alters with the change of shade and this creative interplay between weight and lightness emanates metaphysical voidness from within material fullness. Holding a purification vase in the left hand while doing the posture of "mudra of teaching" on the right, the plumpish figure with fully extended arms is charged with an implacable surge of strength and energy. Slightly tilted forward as a gesture to gaze down upon all beings, the sculpture emblematizes the notion of universal salvation and exhibits a transcendent spirituality. As viewers calmly observe and meditate upon the work, they are invited to a harmonious paradise of spiritual tranquillity and philosophical freedom.

台灣藝術家李真的雕塑語言植根於他與佛教和道教傳統的深厚淵源。此作名為《大士》，充分體現了藝術家基於物質本性為立足點，從而與精神靈性所展開的持續對話。「大士」一詞始於佛教，特指備受尊崇的觀世音菩薩，被認定為慈悲的化身。此雕塑作於1999年，渾圓敦厚之姿散發出靜謐安詳的神韻。《大士》雙目輕閉，神態自若，豁然逍遙的微笑下透露出一絲和諧穩健的高尚情操。李真同時將現代感性融入到他的藝術實踐中，其特有風格巧妙地融合東方魅力和西方幾何美學與概念，呈現一種史無前例的獨特型態及演繹。

李真的作品以既重若輕著稱，《大士》作爲其標誌性作品之一，採用中國傳統墨黑色的生漆手法，創造出空靈之美。帶有霧亮的黑色表面隨著陰影變化而蛻變，重量與輕盈兩者虛實相映,以物質材料作為精神意識的承載。大士左手握淨瓶，右手拇指與中指相捻做出說法印手勢，雙臂全展達至圓融大氣的線條，傳遞著一種懾人的氣韻與能量。雕塑身軀微微前傾作俯視之姿，象徵普渡眾生，展現出超然的靈性。觀者靜思作品時能感受其中的哲學精神元素，在藝術家的引領下趨於一個寧靜自如的靈性空間。