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Lot Essay
The unadulterated mind in Nothing in the Heart was inspired by Li Chen's personal experience. Having traveled through the Central Cross-Island Highway in Taiwan, Li Chen witnessed the magnificent scenes of Tienhsiang and Taroko, and bathed in cold or hot spring in torrential valleys, the artist was profoundly impressed by the precipitous terrain as cliff on both sides connected at the bottom to form a deep gorge. He raised his head to see the majestic mountain peaks amidst clouds, withdrew his eyes to gaze at the shimmering undercurrent, while a heavy mist turned surroundings into a bottomless abyss, just like where our heart is kept hidden.
Nothing in the Heart is filled with transcendental senses of clarity, purity, and innocence, made possible with Li Chen’s mastery over creating textures. The person from the artwork traverses between the faintly discernible mist and cloud of Taroko, oblivious of oneself, with hands and toes dip into chilly water. The artist has successfully revealed a refreshing touch of cool water, and full aesthetic expression through resonating tranquil sleep with glistening light. In terms of this inimitable sculptural achievement, Li Chen has managed to capture the flow of water in its utter absence, and reflection, the solid and liquid in mutual contrast, as the perfect synergistic harmony of the noumenon of reality and phenomenon of virtuality. Li Chen’s sculpture shares a similar aura with archaic Buddhist sculptures, showing the intricate dynamics between movements and stillness, vitality and serenity.
The philosophy of Zen Master of Song Dynasty, Tianyi Yihuai, is also a key theme of this work: “Geese glide over the sky, shadows sink into the tranquil water; geese do not intend to leave a trace, and water not to keep the shadows.” It suggests a valuable attitude that annoyances flash by like the geese, and the heart of Zen remains undisturbed like the water. Unrestrained and worriless as celestial immortals and naivete and genuine as young children, the figures under Li Zhen’s brush also convey such sense of absolute freedom and transcendence to the viewers.
Nothing in the Heart is filled with transcendental senses of clarity, purity, and innocence, made possible with Li Chen’s mastery over creating textures. The person from the artwork traverses between the faintly discernible mist and cloud of Taroko, oblivious of oneself, with hands and toes dip into chilly water. The artist has successfully revealed a refreshing touch of cool water, and full aesthetic expression through resonating tranquil sleep with glistening light. In terms of this inimitable sculptural achievement, Li Chen has managed to capture the flow of water in its utter absence, and reflection, the solid and liquid in mutual contrast, as the perfect synergistic harmony of the noumenon of reality and phenomenon of virtuality. Li Chen’s sculpture shares a similar aura with archaic Buddhist sculptures, showing the intricate dynamics between movements and stillness, vitality and serenity.
The philosophy of Zen Master of Song Dynasty, Tianyi Yihuai, is also a key theme of this work: “Geese glide over the sky, shadows sink into the tranquil water; geese do not intend to leave a trace, and water not to keep the shadows.” It suggests a valuable attitude that annoyances flash by like the geese, and the heart of Zen remains undisturbed like the water. Unrestrained and worriless as celestial immortals and naivete and genuine as young children, the figures under Li Zhen’s brush also convey such sense of absolute freedom and transcendence to the viewers.