亞洲現代與當代藝術 Modern and Contemporary Asian Art

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LI Chen
(Taiwanese, b. 1963)
Blessing Water
2005
Bronze, edition no. 8/8
45(L) x 46(W) x 79(H) cm
Engraved on the back Li Chen in English, numbered 8/8 and
dated 2005
With one seal of the artist
ILLUSTRATED
Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center,
Taipei, 2008, color illustrated, p. 126 (similar version)
2005
8/8
45() x 46() x 79() cm
Li Chen 8/8 2005
2008126
NT$ 4,000,000-5,000,000
HK$ 1,078,000-1,348,000
US$ 137,800-172,200
RMB 868,000-1,085,000
Derived from the “Blessing Water (ruo shui)” chapter of the Tao
Te Ching, the term itself means that truly selfless moral deeds and
goodness should be like water, in that they should not be done
in competition with others for purposes of self-interest. Even in
low or difficult positions, contentment and delight can always be
maintained. Moreover, one should have the ability to adapt to any
environment in an all encompassing manner, and in harmony with
their surroundings. The term also suggests maintaining credibility
and punctuality when dealing with people, and cultivating oneself
and achieving Tao without conflict.
Li Chen practices a complex and elaborate wood carving method
that simplifies complexities, and elevates the lines of the rounded
form to a spiritual level of support. Having meditated for many
years on how to portray warm-hearted works that belong to a
modern spirit, Li Chen has not only sublimated aesthetic concepts
of artistic creation, but also extends aesthetics to a pure and perfect
harmony with humanity.
Li Chen generously uses modern plastic arts, while incorporating a
internalization and reshaping of a rustic philosophy achieved after
a period of self-cultivation of reading sutra. Leading the direction
of Eastern sculpture, he brings a new appearance and expression
to the field. At its core, this work, Blessing Water, sets the highest
imaginations in Chinese thought over a thousand years regarding
“goodness”, while presenting intangible connotations as figurative
sculptures. The artist imbues a thick and heavy texture to the work
to convey the boundless wisdom of Xu Gu. The appearance of a
bowing head and open arms signifies modesty, humility, tolerance,
and an embodiment of goodness. A good natured expression,
closed eyes, and open arms provides the work with a calm and
stable texture and rhyme. At the same time, it draws viewers into a
space for exquisite imaginations. Furthermore, this also enables his
creations to highlight the introspective and restrained philosophies
of Chinese culture that have been nearly submerged in the
contemporary time and space.
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