Page 107 - 亚洲二十世纪及当代艺术

nature of wind into a tangible entity. It seems to float above a silver auspicious cloud, rising from
n a t u r e o f w i n d i n t o a t a n g i b l e e n t i t y . I t s e e m s t o fl o a t a b o v e a si l v e r a u s p i c i o u s c l o u d , r i si n g f r o m
a sandy platform and looking down upon all beings. Holding a command token of the Lord of
a s a n d y p l a t f o r m a n d l o o k i n g d o wn u p o n a ll b e i n g s . H o l d i n g a c o m m a n d t o k e n o f t h e L o r d o f
Wind, with his left arm raised and cheeks puffed. He exhales wind from his mouth and takes it in,
W i n d , w i t h h i s l e f t a r m r a i s e d a n d c h e e k s p u f f e d. H e e x h a l e s w i n d f r o m h i s m o u t h a n d t a k e s i t i n ,
showcasing the circulation of his breath. The lush brushstroke on his forehead shines with a warm,
s h o w c a s i n g t h e c i r c u l a t io n o f h i s b r e a t h . T h e l us h b r us h s t r o k e o n h i s f o r e h e a d s h i n e s w i t h a w a r m ,
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r radiant light, reflecting a profound and contemplative sentiment. .
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Where does the Lord of Wind come from? He is formless, odourless, and unable to be captured, yet he
W h e r e d o e s t h e L o r d o f W i n d c o m e f r o m ? H e i s f o r ml e s s , o d o u r l e s s , a n d u n a b l e t o b e c a p t u r e d , y e t h e
exists between heaven and earth. He embodies a power that is “as light as a goose feather and as heavy
e x i s t s b e t we e n h e a v e n a n d e a r t h . H e e m b o d i e s a p o we r t h a t i s “ a s l i g h t a s a g o o s e f e a t h e r a n d a s h e a v y
as Mount Tai.” Li Chen fully integrates this perception into his sculpture that appears both “heavy and
a s M o u n t T a i. ” L i C h e n f u l l y i n t e g r a t e s t h i s p e r c e p t i o n i n t o h i s s c u l p t u r e t h a t a p p e a r s b o t h “ h e a v y a n d
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l light,” with the Lord of Wind standing tall on a small silver cloud, supported by the divine power of nature. .
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the real and the imaginary to create an aesthetic tension that invites us to enter the meditation of nature
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and to contemplate the “emptiness” and the power of the wind.
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The Fiery Dragon Dances Wildly with the Infinite Expanse
T h e F i e r y D r a go n D a n c e s W i l d l y w i t h t h e I n fi n i t e E x p a n s e
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Contrasting with the elegance of the Lord of Wind is the wildness and vitality of the Lord of Fire. According
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noble virtue, was known as the Flame Emperor because of his mastery of fire.” In this work, Li Chen uses
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f fiery red to simulate the infinite tension of the Flame Emperor, whose form is more martial and agile. .
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With his left arm raised and his right hand holding the command token of the “Lord of Fire”, he summons
W i t h h i s l e f t a r m r a i s e d a n d h i s r i g h t h a n d h o l d i n g t h e c o m m a n d t o k e n o f t h e “ L o r d o f F i r e ” , h e s u m m o n s
˦ग़‘2013 ϋ࢝׵ˋኇɭ೮ᄿఙ
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t the power of the divine, standing atop ranging flames and exhaling the essence of the samadhis. The  ˦ ग़‘ 2 0 13 ϋ࢝ ׵ˋ ኇ ɭ ೮ ᄿ ఙ
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f fingertips and toes are crafted with the use of gold, radiating a divine brilliance. The golden flames flicker
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on the top of the head and along the arm curves. The fiery mark on the forehead echoes the flames in
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h i s m o u t h , a d d i n g t o h i s w i l d a n d u n r e s t r a i n e d a u r a . T h e s o a r i n g L or d o f F i r e i n t h e s k y s e e m s t o b r i n g
his mouth, adding to his wild and unrestrained aura. The soaring Lord of Fire in the sky seems to bring
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down raging heavenly fire, bringing light, warmth, and hope. His body is devoid of black ink, but a layer of
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ink-like ash is spread under his feet. This represents the sediment after charcoal combustion and the
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vitality rekindled from the ashes, depicting the constant cycle of life and revealing the ultimate law of
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nature. Wind and fire complement each other, giving rise to smoke and clouds. .
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With the two-divine works of wind and fire, Li Chen attempts to illustrate the
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vitality of natural world from a divine perspective, embodied in the phrase, “a
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prairie fire cannot burn all the weeds, it grows again when the spring breeze
pr a i r i e f i r e c a n n o t b u r n a l l t h e w e e d s , i t g r o w s a g a i n w h e n t h e s pr i ng br e e z e
blows.” As ordinary beings, we look up to the power of gods, transforming
b lo w s . ” A s o r d i n a r y b e i n g s , we l o o k u p t o t h e p o we r o f g o ds , t r a n s f o r m i n g
nature’s gifts into our own re-creation, while remaining vigilant in
n a t u r e ’ s g i f t s i n t o o u r o w n r e - c r e a t io n , wh i l e r e m a i n i n g v i g i l a n t i n
m
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protecting the environment and understanding nature. Li Chen’s
. L
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new Eastern aesthetic, which blends classical beauty and
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, wh
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contemporary sensibility, encapsulates the extraordinary
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tra n s f or ma t i on o f n a t u r a l f or ms . H i s a v a n t - g a r de th i n k i n g
transformation of natural forms. His avant-garde thinking
endows traditional civilization with contemporary
e n do w s tr a d i t i on a l c i v i l i za t i on w i th c on t e m p or a r y
significance, imbuing it with a pure power that is almost
s i g n i f ic a n c e , i m b u i n g i t w i t h a p u r e p o we r t h a t i s a l m o s t
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Taoist, almost Confucian, and almost divine, resonating
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with the most abundant spiritual pursuit. .
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