Page 106 - 亚洲二十世纪及当代艺术

“I attempt to depict a kind of power
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‘ ‘divine power.’ All unknown forces
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of nature and powers surpassing
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Lord of Fire.” ”
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Chinese sculpture art infuses a spiritual essence
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ࠬग़‘e˦ग़‘2009 ϋ׵อ̋սߕஔ᎜ʘҽॆ˜ၚग़ ・ Ԓ᜗ ・ ᜳ჻™ɽ࢝ʕ࢝̈ born of vitality and harmony with nature into
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b o t h d e i t i e s a n d hu m a n f i g u r e s . C o n t e m p o r a r y
both deities and human figures. Contemporary
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Chinese artist Li Chen injects this abundant
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divinity from the appearance to the inner
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meaning of this work. His sculptural language is
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harmonious and substantial, reflecting a natural
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humour, achieving a unique artistic world that
ೌ ٙɢ ඎ d ݊ɓ ၇ ˜ ݅ Ⴠν ᒿ ˣɦ ࠠ ׵इ ʆ ™ ͉ٙ ሯ f ҽॆ ਗ਼ வɓ ช ٝ d̂ sets him apart from others. .
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ʱፄΥί˼˜݅ࠠɦჀ™ٙᎉ෧ʕdίɪɨගర੻ɓ၇̻ፅʘߕf̮Җɽं
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̂ޮٙࠬग़Йͭ׵ʃʃٙვථʘɪ dΪІ್ʘग़ɢϾ੿ࠬ࠭Б dͭ׵˂ήϾ Since 2008, Li Chen has extended the traditional l
̂ޮٙࠬग़Йͭ׵ʃʃٙვථʘɪdΪІ್ʘग़ɢϾ੿ࠬ࠭Бdͭ׵˂ήϾ
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ʔᄥ fලဒٙਤΈЍዣᜊˌ̈ᓛᘚٙሯช d༷ᕎ׵Ӑओʘග dਗ਼ൈྼණΥމ s u c h a s w i n d , f i r e , t h u n d e r , g o l d , w o o d , w a t e r a n d
such as wind, fire, thunder, gold, wood, water and
ɓ၇ߕኪٙੵɢd̜ఎҢࡁӉɝІ್ٙࡔซʘʕd᜗ࢻԟ˜٤™ٙᐥܠձ
ɓ ၇ߕ ኪ ٙੵ ɢ d ̜ ఎҢ ࡁ Ӊɝ І ್ ٙࡔ ซ ʘʕ d ᜗ ࢻԟ ˜ ٤ ™ ٙᐥ ܠ ձ earth as a kind of creative “divine power.” With the
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˜ࠬ™ٙɢඎfЪۜνɽᘄ࢝ॼdɓࢹɓຬԢdዹၾڗࠬದd˸ˏɛɝ௷ٙ۶ concept of “spiritual awareness in a limited body,”
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The works trace back to the power of the “Fengbo
T h e w o r k s t r a c e b a c k t o t h e p o we r o f t h e “ F e n g b o
ၾࠬग़ٙᙗඅ޴࿁ٙ dۆ݊ ग़ቿ {{ ˦ग़‘ٙੵӮၾ͛ዚ f ・ ܛ዇ ( (Deity of Wind)” and the “Flame Emperor”
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қ‘ʕা༱j˜ग़༵ˤϞ໋ᅃd˸˦ᅃˮd݂໮ف܎f™ҽॆίϤЪʕ˸لߎ
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ʘ ЍͷᏝ ˦ग़ ف܎ٙ ೌᇊ ੵɢ d Չி ۨ᜗࿒ һމ ˆ؛ ᜳݺ d̸ ౛݄ ج d̛ ˓ a d m i r a t io n f o r a n c i e n t g o ds i n t o v i v i d a n d
ʘЍͷᏝ˦ग़ف܎ٙೌᇊੵɢdՉிۨ᜗࿒һމˆ؛ᜳݺd̸౛݄جd̛˓
admiration for ancient gods into vivid and
ܵ˜˦ग़™˿೐̜ఎग़ɢd໔ሸဤဤडೋdɹΟɧ݉ॆ˦fϾ˓ԑφ၌һ˸
ܵ ˜˦ग़™˿೐̜ఎग़ɢ d໔ሸဤဤडೋ dɹΟɧ݉ॆ˦ fϾ˓ԑφ၌һ˸ extraordinary pieces, showcasing spiritual power
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ዹतٙܲږ˙ό͂ிd฽Ոग़׌ٙΈሾdږරٙडೋᚔਗίՉᝍ௟ၾᑑᛃd
ዹतٙܲږ˙ό͂ி d฽Ոग़׌ٙΈሾ dږරٙडೋᚔਗίՉᝍ௟ၾᑑᛃ d b e y o n d t h e p h y s ic a l . B o t h w o r k s h a v e b e e n w i d e l y
beyond the physical. Both works have been widely
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ᕘගٙɓכ˦׌ᅺাۆխᏐՉɹʕʘ˦dމ˼Ύ૴ᚔႀ˦ᎲٙӮ׳ंࢹf
ᕘගٙɓכ˦׌ᅺাۆխᏐՉɹʕʘ˦ dމ˼Ύ૴ᚔႀ˦ᎲٙӮ׳ंࢹ f published and exhibited since their completion
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of China, Singapore Art Museum, Chiang Kai-
ग़dҗֽਗ਼ဤဤ˂˦ࠥᑗ˰ගd੭ԸΈ׼e๝าၾҎૐdՉᔶ᜗ԨೌኈЍd
ग़ dҗֽਗ਼ဤဤ˂˦ࠥᑗ˰ග d੭ԸΈ׼ e๝าၾҎૐ dՉᔶ᜗ԨೌኈЍ d o f C h i n a , S i n g a p o r e A r t M us e u m , C h i a n g K a i -
Shek Memorial Hall in Taipei, and an artist’s solo
Ԓɨۍ቗ɪəɓᄴνኈٙϲᓯ d݅݊ލ˦ዷደܝٙӐዠ d͵݊ІϲᓯʕΎዷ S h e k M e m o r i a l H a ll i n T a i p e i , a n d a n a r t i s t ’ s s o l o
Ԓɨۍ቗ɪəɓᄴνኈٙϲᓯd݅݊ލ˦ዷደܝٙӐዠd͵݊ІϲᓯʕΎዷ
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ٙ͛ዚd͍ͪତə͛͛ʔࢹٙృᐑ۶࿒d༸̈І್ٙ୞฽֛ܛf exhibition at Place Vendôme in Paris, sparking
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ࠬ˦ɓ޴੻ d๧ථІϤ͛ fᔟՇ΁ग़ቿʘЪ dҽॆ༊ྡ˸ग़׌ٙԉܓ dᙕ R i d in g t h e W in d w i t h t h e S t a m in a o f a n E a g l e
ࠬ˦ɓ޴੻d๧ථІϤ͛fᔟՇ΁ग़ቿʘЪdҽॆ༊ྡ˸ग़׌ٙԉܓdᙕ
Riding the Wind with the Stamina of an Eagle
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ࠑഹІ್ගٙೌᇊᗫᑌd˜ൈމࠬdӮӍ౮dɘ˦ލdʷ͛ዚ™dंʘჀޮ I In Su Shi’s Ode to the Red Cliff, he eloquently
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੭ৎ˦ʘᚔਗ d˦ग़ၾࠬग़ʘɢ޴ᛌ̋ dІڗ٤࠶ᐚႏ͛ dਗ਼͛նᓥ׵͉ s ai d , “ va s t a n d b o u n d l e s s l i k e c om m a n d i ng
said, “vast and boundless like commanding
๕dяତ˜௉˦ደʔးd݆ࠬєɦ͛™ٙೌး͛ዚfϾԒމɭ˃ٙҢࡁd
๕d я ତ˜ ௉˦ደʔး d݆ࠬєɦ͛ ™ٙೌး͛ዚ fϾԒމɭ˃ٙҢࡁ d t the wind, yet unaware of its destination; like a
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΃ૐഹग़׼ʘɢdਗ਼І್ٙᕠᗍʷމʉҢٙΎிdһᙆ፴׵ᐑྤʘڭᚐe t transcendent being, feathered and ascending
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੔ৄމତ˰จ່ٙۃሊܠϽd˸ڐ˷༸eڐ˷ʠeڐ˷ग़ٙॱၘɢඎd๝ the artist’s signature black ink, giving it a shiny
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