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拍品专文
There is a clear sense of a childlike innocence and a curious timeless wisdom to be found in Li Chen's art. If sculpture reinforces our own humanity, then Li's work certainly does this in full, with a sense of humor, a limitless energy, and a generosity of spirit that Western-influenced, hard-edged metal sculpture work does not possess. Li's vigorous embrace of the best qualities of Buddhism allows us to smile at ourselves and to see the wisdom of seeking peace in a turbulent and malevolent world."
-Ian Findlay-Brown, Li Chen : In Search of Spiritual Space Solo Exhibition at National Art Museum of China.
Li Chen's first bold experiment with scarlet was in his Peony (Lot 175) of the "Godly Nomad" series, in which he used peonies as a symbol of the beginning of life's journey. With the image of Sakyamuni and the lotus seat, he captures the moment in which the innocent infant leaves its womb: "Peony, every single being must walk away from their mother's beautiful flower, this is a pain that comes of love". The artist's use of a scarlet flower symbolises an extravagant entrance into life; while the crumpled petals are a metaphor for the natural artifices of both femininity and flowers, and the nurturing of the purity of life's beginning. And in Ephemeral Beauty (Lot 176), Li Chen captured the short-lived glory of exploding fireworks, for as the smoke and fire dies down, fireworks fade into memory and can only be enjoyed with one's own eyes at the present moment. It further suggests that to live life to its fullest and most spectacular is to fulfil the lesson of life itself and then set free: "Fireworks, beauty is temporary like fireworks, and like flowers from seed to extravagant bloom, is destined to fade away. Beauty is fated to be a fleeting journey." In Li Chen's work, the simplistic lines, the contrast between the gloss and the unevenness, and the ink-black and gold that complement each other lends freshness to the image; Li Chen captures with precision the nuances of human expression, moulding faint traces of both pleasure and regret in the figure's expression. The layered structure of the entire creation, from the braid of falling flowers, to the human figure, to its stand, is certainly unique among the "Godly Nomad" series.
-Ian Findlay-Brown, Li Chen : In Search of Spiritual Space Solo Exhibition at National Art Museum of China.
Li Chen's first bold experiment with scarlet was in his Peony (Lot 175) of the "Godly Nomad" series, in which he used peonies as a symbol of the beginning of life's journey. With the image of Sakyamuni and the lotus seat, he captures the moment in which the innocent infant leaves its womb: "Peony, every single being must walk away from their mother's beautiful flower, this is a pain that comes of love". The artist's use of a scarlet flower symbolises an extravagant entrance into life; while the crumpled petals are a metaphor for the natural artifices of both femininity and flowers, and the nurturing of the purity of life's beginning. And in Ephemeral Beauty (Lot 176), Li Chen captured the short-lived glory of exploding fireworks, for as the smoke and fire dies down, fireworks fade into memory and can only be enjoyed with one's own eyes at the present moment. It further suggests that to live life to its fullest and most spectacular is to fulfil the lesson of life itself and then set free: "Fireworks, beauty is temporary like fireworks, and like flowers from seed to extravagant bloom, is destined to fade away. Beauty is fated to be a fleeting journey." In Li Chen's work, the simplistic lines, the contrast between the gloss and the unevenness, and the ink-black and gold that complement each other lends freshness to the image; Li Chen captures with precision the nuances of human expression, moulding faint traces of both pleasure and regret in the figure's expression. The layered structure of the entire creation, from the braid of falling flowers, to the human figure, to its stand, is certainly unique among the "Godly Nomad" series.