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李真 神魄——風神 銅雕 版數:7/8 二〇〇八年作 Li Chen b.1963 Lord of Wind Bronze sculpture Edition: 7/8 Executed in 2008
香港
2023年10月08日 开拍
拍品描述
size:127 × 99 × 66 cm. 50× 39 × 26 in.
款識 2008藝術家鈐印 Li Chen 7/8 (左足背面) 出版(不同尺寸、版數) 2009年,《神魄︰李真雕塑》,亞洲藝術中心,台北,封面、第64、77、80至81、86、101、128至133、155、166、202至203及232頁 2010年,《李真:精神.身體.靈魂》,新加坡美術館,新加坡,第46、55、73、110至117、180至181及184頁 2012年,《大氣——李真台灣大型雕塑首展》,亞洲藝術中心,台北,第11、29、106至109、133、183、191及195至196頁 2014年,《李真——既重又輕︰2013巴黎凡登廣場大型雕塑個展》,亞洲藝術中心,台北,封面、第18至19、26至27、43、100至101、114及140頁 2016年,《知識與迷悟——李真「不生不滅」與「凡夫」系列首展》,亞洲藝術中心,台北,第27、32及79頁
Incised with date, stamp, signed in English, and numbered on the back of the left foot LITERATURE (different dimensions, editions) 2009, Li Chen: Soul Guardians – Li Chen Sculptures, Asia Art Center, Taipei, cover page and p. 64, 77, 80-81, 86, 101, 128-133, 155, 166, 202-203 and 232 2010, Li Chen: Mind.Body .Spirit, Singapore Art Museum, Singapore, p. 46, 55, 73, 110-117, 180-181 and 184 2012, Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, p. 11, 29, 106-109, 133, 183, 191 and 195-196 2014, Monumental Levity of Li Chen: Premiere Sculpture Exhibition Place Vend?me, Asia Art Center, Taipei, cover page, p. 18-19, 26-27, 43, 100-101, 114 and 140 2016, Knowledge and Enlightenment – “Immortality of Fate” and “Ordinary People” Series Debut Exhibitions, Asia Art Center, Taipei, p. 27, 32 and 79
展覽(不同尺寸、版數) 2008年10月18日至2009年2月21日,「李真2008新作首展:神魄」,亞洲藝術中心,北京 2009年9月17日至12月9日,「李真:精神.身體.靈魂」,新加坡美術館,新加坡 2011年11月6日至12月4日,「大氣——李真台灣大型雕塑首展」,中正紀念堂,台北 2013年9月2日至29日,「既重又輕——李真2013巴黎凡登廣場大型雕塑個展」,凡登廣場,巴黎 2013年6月1日至11月24日,「第55屆威尼斯雙年展平行展」,莫拉宮殿,威尼斯 來源 台北亞洲藝術中心 現亞洲重要私人藏家直接購自上述來源 附:亞洲藝術國際集團股份有限公司開立之作品證書 風火一相得,直上青雲霄 李真雕塑凌於造化的神魄之力 「我試圖透過一種超越正常人的力量『神力』來表現。所有未知的自然力量所有超越人的力量,我們稱呼為神。光是我個人的力量是有限的,所以我借用雕塑的力量去與觀眾的視覺對撞,因此創作了《神魄——風神》、《神魄——火神》。」 ——李真 明代書畫名家董其昌曾言:「以天地為師」,意為向天地取經,以造化之淳樸自然,開拓境界的無垠。此般師法造化、法天貴真的思想源自道家,經歷代文人墨客的傳承,而成為一種中國傳統的美學精神,強調著人與自然、社會、宇宙的和諧共存。而在華人當代藝術大家李真眼中,傳統的美學史觀和當代藝術的思維,正可融合為一種新的東方美學、一種看待自然的全新方式:中國的雕塑藝術,將一種生乎元氣、順乎自然的靈性注入神像和人像之中,而李真,則將這股充盈的神氣,自表象至內涵地注入其作。大氣圓融、似重又輕是其雕塑語彙,自然無為的達觀、平易近人的幽默為其雕塑精神,成就他獨一無二的藝術世界。 繼「虛空中的能量」的磅礴、「大氣神遊」的自在遨遊,自2008年起,李真在傳統美學的史觀之上,進一步將自然的風火雷電、雨露雲霧、金木水土等元素視為一種造化的「神力」,以「靈識窮體」為創作理念,意在消融一切天險,演繹出極為精彩的「神魄」系列。是次拍賣,我們重磅呈現該系列最震撼、最具代表性的《神魄——風神》(拍品編號29)與《神魄——火神》(拍品編號30),此為其於拍賣史上首度曝光,珍稀非凡。作品回溯中國典籍中「風伯」和「炎帝」的威力,將對古老神明的讚嘆,化為栩栩如生、靈性非凡之作,自俯視蒼生的神明視角,展現出超越肉體的精神力量!兩件作品出版與展覽豐富,自2008年創作完畢即先後發表於中國美術館、新加坡美術館、台北中正紀念館、巴黎凡登廣場之藝術家個展,作品龐然無雙的體魄、風火相得的神性傳遞出無比懾人的視覺感知,引起廣泛的討論和迴響。 凌虛御風,萬里鵬程 漢代《風俗通義?祀典》中曾記述:「長者伯,故曰風伯。鼓之以雷霆,潤之以風雨,養成萬物,有功於人,王者祀以報功也。戍之神為風伯,故以丙戌日祀於西北,火勝金為木相也。」在傳統文化的語境裡,風神乃是促成風調雨順、五穀豐登、國泰民安的關鍵,故名為「風伯」,帶有「尊伯為長」的含義。蘇軾在《赤壁賦》中妙言:「浩浩乎如馮虛御風,而不知其所止;飄飄乎如遺世獨立,羽化而登仙」,而那乘萬里長風的自由之境,正是李真《神魄——風神》一作的傳神所在!見其作中的風神通體豐盈,線條圓潤,以藝術家最具標誌性的黑墨,打造出墨色生漆的光澤,將風之無色無形化為可感可知的實體。而其仿若騰空漂浮於一朵銀光閃耀的祥雲之上,自沙質的平台上冉冉升起,俯視眾生,他手持「風」字令牌,左臂上揚,正張口呼風,兩頰鼓鼓,一吐一納間,氣息運轉,隨之在臉龐、身軀和四肢形成一道道肌理細紋,如鼓風膨脹,化為道道風痕。風神龐大的身軀看似沈重,卻在行雲流水的曲線中滿溢充盈之氣,故而破除墨黑之沉重,在光線的變化中反倒巧妙地透露出輕盈的質感。而收束於額間的豐潤一筆,更閃耀著一抹溫潤的靈光,反應出靜默深遠的懷想。 風神自何處而來?他無象、無味、無法捕捉,卻時刻存於天地之間,我們從雲層的移動、花草的搖曳、衣襬的飄動中可感知風的存在,那是一種似有若無的力量,是一種「既輕如鴻毛又重於泰山」的本質。李真將這一感知,充分融合在他「既重又輕」的雕塑中,在上下間尋得一種平衡之美。外形大氣充盈的風神佇立於小小的銀雲之上,因自然之神力而御風飛行,立於天地而不墜。黑漆的啞光色澤變幻出朦朧的質感,遊離於沉浮之間,將虛實集合為一種美學的張力,召喚我們步入自然的冥想之中,體悟那「空」的禪思和「風」的力量。作品如大鵬展翅,一息一萬里,獨與長風游,以引人入勝的姿態,將東方傳統的神性讚嘆,革新為當代的現實聯想,在「生動的氣韻和偉大的靜穆」中實現淨化人心的力量。 火龍狂舞,遼遠無際 「地心火,紅九天,逐流層,太極風。法遊子,渡嫣紅。回首路,空虛無。」 ——李真 與風神的飄逸相對的,則是《神魄——火神》的張狂與生機。《漢書?律曆志》中記載:「神農氏有聖德,以火德王,故號炎帝。」李真在此作中以炙紅之色仿擬火神炎帝的無窮張力,其造型體態更為孔武靈活,左掌施法,右手持「火神」令牌召喚神力,腳踏熊熊烈焰,口吐三昧真火。而手足尖端更以獨特的按金方式打造,極具神性的光輝,金黃的烈焰躍動在其顱頂與臂彎,額間的一抹火性標記則呼應其口中之火,為他再添躍舞火龍的狂放氣息。「在天為日,在地為火。何以驗之?陽燧鄉日,火從天來。」騰躍在空中的火神,彷彿將熊熊天火降臨世間,帶來光明、溫暖與希望,其軀體並無墨色,身下卻鋪上了一層如墨的灰燼,既是炭火燃燒後的沉澱,亦是自灰燼中再燃的生機,正示現了生生不息的循環姿態,道出自然的終極定律。 風火一相得,煙雲自此生。藉兩件神魄之作,李真試圖以神性的角度,闡述著自然間的無窮關聯,「虛為風,狂沙揚,九火炭,化生機」,氣之輕盈帶起火之躍動,火神與風神之力相疊加,自長空俯瞰蒼生,將生命歸於本源,呈現「野火燒不盡,春風吹又生」的無盡生機。而身為凡夫的我們,仰望著神明之力,將自然的餽贈化為己我的再造,更警醒於環境之保護、自然之體察。文明的巨輪因自然之力而前行,並在千年美學的積澱中,獲得萬物與我共融為一的真諦。李真以其兼容古典美和當代感的新東方美學,塑造著自然形體的奇異幻變,蘊含著磅礴氣韻的視覺感知。他將傳統文明寄託為現世意義的前衛思考,以近乎道、近乎仁、近乎神的純粹力量,溫潤警世,自藝術,回歸著文化最深沉的共鳴,迴響出最豐盈的精神追求!
EXHIBITED (different dimensions, editions) 18 Oct 2008 – 21 Feb 2009, Soul Guardians – In an Age of Disasters and Calamities, Asia Art Center, Beijing 17 Sep – 9 Dec 2009, Li Chen: Mind.Body .Spirit, Singapore Art Museum, Singapore 6 Nov – 4 Dec 2011, Greatness of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Chiang Kai-Shek Memorial Hall, Taipei 2 – 29 Sep 2013, Li Chen 2013 Place Vend?me Premiere Solo Exhibition in Paris, Vend?me Square, Paris 1 Jun – 24 Nov 2013, Collateral Event of Chinese Art at the 55th Venice Art Biennale, Palazzo Mora, Venice PROVENANCE Asia Art Center, Taipei Acquired directly by present important private Asian collector from the above This work is accompanied by a certificate of authenticity issued by Asia Art Int'l Group Corporation Wind and Fire Complement Each Other, Rising to the Summit The Sculptures of Li Chen Embody the Divine Power of Nature “I attempt to depict a kind of power beyond that of ordinary people, a ‘divine power.' All unknown forces of nature and powers surpassing humans, we call them gods. My personal power alone is limited, so I borrow the power of sculpture to create a visual dialogue with the viewer, thus creating Lord of Wind and Lord of Fire.” ——Li Chen Chinese sculpture art infuses a spiritual essence born of vitality and harmony with nature into both deities and human figures. Contemporary Chinese artist Li Chen injects this abundant divinity from the appearance to the inner meaning of this work. His sculptural language is harmonious and substantial, reflecting a natural and effortless optimism and approachable humour, achieving a unique artistic world that sets him apart from others. Since 2008, Li Chen has extended the traditional aesthetics of history to view natural elements such as wind, fire, thunder, gold, wood, water and earth as a kind of creative “divine power.” With the concept of “spiritual awareness in a limited body,” he aims to dissolve all obstacles and present the remarkable Soul Guardians Series. In this auction, we present the most stunning and representative works of this series, Lord of Fire (Lot 30) and Lord of Wind (Lot 29). This is their first-ever appearance in an auction, making them exceptionally rare. The works trace back to the power of the “Fengbo (Deity of Wind)” and the “Flame Emperor” in ancient Chinese literature, transforming admiration for ancient gods into vivid and extraordinary pieces, showcasing spiritual power beyond the physical. Both works have been widely published and exhibited since their completion in 2008, appearing at the National Art Museum of China, Singapore Art Museum, Chiang Kai-Shek Memorial Hall in Taipei, and an artist's solo exhibition at Place Vend?me in Paris, sparking widespread discussion and response. Riding the Wind with the Stamina of an Eagle In Su Shi's Ode to the Red Cliff, he eloquently said, “vast and boundless like commanding the wind, yet unaware of its destination; like a transcendent being, feathered and ascending to heaven.” This perfectly captures the essence of Li Chen's Lord of Wind. The sculpture is full and rounded, with smooth lines created by the artist's signature black ink, giving it a shiny lacquer-like look that transforms the invisible nature of wind into a tangible entity. It seems to float above a silver auspicious cloud, rising from a sandy platform and looking down upon all beings. Holding a command token of the Lord of Wind, with his left arm raised and cheeks puffed. He exhales wind from his mouth and takes it in, showcasing the circulation of his breath. The lush brushstroke on his forehead shines with a warm, radiant light, reflecting a profound and contemplative sentiment. Where does the Lord of Wind come from? He is formless, odourless, and unable to be captured, yet he exists between heaven and earth. He embodies a power that is “as light as a goose feather and as heavy as Mount Tai.” Li Chen fully integrates this perception into his sculpture that appears both “heavy and light,” with the Lord of Wind standing tall on a small silver cloud, supported by the divine power of nature. The matte black finish creates a hazy texture that fluctuates between solidity and fluidity, combining the real and the imaginary to create an aesthetic tension that invites us to enter the meditation of nature and to contemplate the “emptiness” and the power of the wind. The Fiery Dragon Dances Wildly with the Infinite Expanse Contrasting with the elegance of the Lord of Wind is the wildness and vitality of the Lord of Fire. According to the Hanshu (History of Han): Lüli zhi (Treatise on Harmonics and Astronomy), “Shennong processed noble virtue, was known as the Flame Emperor because of his mastery of fire.” In this work, Li Chen uses fiery red to simulate the infinite tension of the Flame Emperor, whose form is more martial and agile. With his left arm raised and his right hand holding the command token of the “Lord of Fire”, he summons the power of the divine, standing atop ranging flames and exhaling the essence of the samadhis. The fingertips and toes are crafted with the use of gold, radiating a divine brilliance. The golden flames flicker on the top of the head and along the arm curves. The fiery mark on the forehead echoes the flames in his mouth, adding to his wild and unrestrained aura. The soaring Lord of Fire in the sky seems to bring down raging heavenly fire, bringing light, warmth, and hope. His body is devoid of black ink, but a layer of ink-like ash is spread under his feet. This represents the sediment after charcoal combustion and the vitality rekindled from the ashes, depicting the constant cycle of life and revealing the ultimate law of nature. Wind and fire complement each other, giving rise to smoke and clouds. With the two-divine works of wind and fire, Li Chen attempts to illustrate the vitality of natural world from a divine perspective, embodied in the phrase, “a prairie fire cannot burn all the weeds, it grows again when the spring breeze blows.” As ordinary beings, we look up to the power of gods, transforming nature's gifts into our own re-creation, while remaining vigilant in protecting the environment and understanding nature. Li Chen's new Eastern aesthetic, which blends classical beauty and contemporary sensibility, encapsulates the extraordinary transformation of natural forms. His avant-garde thinking endows traditional civilization with contemporary significance, imbuing it with a pure power that is almost Taoist, almost Confucian, and almost divine, resonating with the most abundant spiritual pursuit.

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价格信息

拍品估价:1,000,000 - 1,500,000 港币 起拍价格:1,000,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 20.00%
5,000,000 - 20,000,000 17.00%
20,000,000 - 以上 14.00%

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