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Illuminated - Blog Posts
Scaled Citadel is full of secrets.
Have you finished Shattered Space ?
Ferdynand Ruszczyc Nec mergitur (EN: It will not sink), 1904-1905 Oil on canvas 204 x 221 cm Credit: Wikimedia Commons [Public Domain]
LI CHEN THE SOUL GUARDIAN
AERIEL PAGODA I
AERIAL PAGODA II
FIREMASTER
THE THREE BODIES OF BUDDHA
THE PURSUER
CLEAR SOUL
SNOW WONDERLAND
SOUL GUARDIAN
THE GENUINE STATE
LANDSCAPE IN HEAVEN
GOLDEN PALM
ELEVATION
LORD OF WIND
OFFERING
SOARING DRAGON
CAUSAL (soul)
THE ILLUMINATOR
THE ILLUMINATOR CLOSE UP
"Behind the Beacon is a ceremonial process; its essence lies in “Yinze”—the full or diminishing glory of the sun and the moon. (Li Chen)
One morning I received a call from a dear friend of mine whose taste and creativity I greatly admire, she recounted to me her trip in Paris and all the wonderful art she had seen but especially wanted to share with me in detail something she knew I would love. Buddha statues like she had never seen, her description immediately resonated with me and the googlelista that I am I fell on Buddhas Big Lap. It was love at first sight for me too, Splendid Buddha, big and round like a baby, strong yet soft, heavy yet light, almost as if Botero and Buddha had baby via Artist Taiwanese Li Chens mind.
Li Chen's Spiritual Invocations come from his deep knowledge and experience in Taoist, Buddhist and Classic Chinese Traditions but most of all from his connection to his soul. That is what make these sculptures be different from the rest, they glimmer within.
Now how can I invoke one of his sculpture in my house?!
*When night light Glimmers : The Beacon*
In this Series:
The Pursuer, Illuminator, Angelic Smile, Fire Master, The Pavilion, Aerial Pagoda & Soaring Dragon.
"One evening in 2009, Li Chen returned from a busy day at work to his home. He lit a long unused candles on the family Buddhist altar and enjoyed the warmth of the silence, and the experience brought back memories of one of his earlier drawings titled “Illuminator.” This event was the spiritual beginnings of the artist’s current series of work. For the “The Beacon” Series, Li Chen completed just eight pieces in total. For Li lighting the lamp constitutes an act of “recuperation” and brings with it a certain ritualistic joy. Through the interaction of humanity and fire the burning of materials not only changes the environment, but a certain romantic sentimentality dances in the candlelight. As a result, ones state of mind becomes becalmed, providing an opportunity for one to communicate with oneself. “The Beacon” is far richer and more diverse than any of Li’s earlier work. It also marks the first time the artist has sculpted the human form, deliberately showcasing the characteristic of the Asian physical form. This work makes the connection between people and such high places as towers, pavilions, heavenly fire, containing objects that appear distant, but can be compared with Chinese literati’s slow wander.
"The meaning of the Pursuer’s candle light can be decided by people’s different definition and thought for life. A white cloud twirling around the waist of the figure is evocative of a dream-like illusion, triggering the imagination and lending a surprising touch of humor to the otherwise thought-provoking theme. Such is the wondrous creativity of Li Chen." (Thomas Lee, President of Asia Art Center)
******* NEWS***************** ( Lucky Parisians )
LI CHEN EXHIBITION IN PLACE VENDOME PARIS 2 SEPTEMBER-29TH. 2013.
Li Chen has accomplished an artistic style that incorporates Eastern philosophy of Confucian, Taoist, and Buddhist traditions with contemporary thought, evincing the idea of “Spirit of the East.” His sculptures will be showcased at the center of Paris surrounded by historical buildings. While such arrangement seems to emphasise the contrast between two different cultures, they are alike in terms of providing new possibilities and interpretations for our cumulative civilisation and wisdom in contemporary world. Facilitated by the speed of globalisation and technology nowadays, we can thus expect a profound intellectual dialogue between Eastern and Western cultures occurring at Place Vendome.
This exhibition is organised by notable non-profit organization—Global Art Center Foundation (GAC), and Asia Art Center, with full acknowledgement and support from the Vendôme Committee (Comité Vendôme), Ministry of Culture (Ministère de la Culture) and Paris City Council (Conseil municipal). After 18 months of deliberated planning by the curatorial team, which consists of international experts from Paris, Netherlands, Italy and Taipei, the team has successfully overcome various obstacles such as transportation, structural calculation, artwork placement, loading capacity, and weather conditions. in the hope to help Taiwanese artist break free from geographical boundary and to engage in the infinite possibilities of the world.
As the economy of the east begins to rise and attract global attentions, Li Chen’s artworks inspired by Eastern culture and traditions will surely bring to light a visual and spiritual feast in the world.
SOURCES
www.lichensculpture.org
www.asie-antiquites.com
To see more like LI Chen see my previous piece on Dashi Namdakov
Who created the manuscript?
NO. 1
Ever since the rise of modernism, it feels like people have only looked to see such medieval manuscripts in museums or hear about them in lecturers. The beginning of medieval, or illuminated manuscripts were beautiful but so very old and have to be handled with great care. Archaeologists and anthropologists have discovered and studied such manuscripts as a testament to keeping record of humanity’s past forms of writing. But would we ever get to such technological advancements, in forgetting our past, without it? This report explains the creation of how medieval manuscripts came to pass.
NO. 2
From the met museum, ‘Unlike the mass-produced books of our time, an illuminated manuscript is unique, handmade object. In its structure, layout, script, and decoration, every manuscript bears the signs of the unique set of processes and circumstances involved in its production, as it moved successively through the hands of the parchment maker, the scribe, and one or more decorators or illuminators.’’ Illuminated manuscripts began in Ireland after the fall of the western Roman empire. Christianity came to Ireland around 431 A.D, introduced by Palladius and reinforced by the ministry of a Roman Briton named Patricius, or St. Patrick as he’s called today. He was kidnapped at the age of sixteen, and spent six years in captivity before escaping back to Britain. Upon returning, he was met with ‘distrustful druids’, and ‘murderous bandits’, and by bribing tribal kings did he made it out alive.
NO. 3
Eventually, he came back to Ireland in the 5th century. The island became lidded with monasteries in the 6th, and in the 7th the scribes of these centers of religious life were experimenting with new forms of decoration and bookmaking, the better to reflect God’s glory in the written word.
The first illustrated book to be found by archaeologists was the Egyptian ‘Book of the Dead’, a guidebook for the afterlife in which those in question would come to face-to-face with the jackal headed god Anubis, where he would balance their heart against a feather to determine what would become of them. A fortunate soul would either be in the Elysian paradise, the ‘Field of Peace’, or travel the night sky with Ra in his sun-boat, or rule the underworld with Osiris; those less fortunate would be eaten by the chimera looking god Ammit the soul-eater, for her body was part crocodile, lion and hippo. From Keith Houston’s, The Book, ‘’One of the main reasons the Book of the Dead is so well studied is because so many copies have survived, their colorful illustrations intact for Egyptologists to pore over endlessly. And though their subject matter may have been a little monotonous, it is clear that the ancient Egyptians were past masters at the art of illustrating books.’’
NO. 4
Under Charlemagne’s the Great Holy Roman Empire, politics, religion and art flourished. Monks filled their libraries with tens to thousands of volumes, where they borrowed and copied books to expand their holdings and occasionally to sell to laypeople, and those who wrote and collected realized the importance of illustration was towards a society of illiterate people. The monks who were in charge of the survival of Europe’s history were very vocal about physical maladies and working conditions. The dismal chambers were called ‘scriptoria’ or the writing rooms, which was the most important features of a medieval monastery, other than the Church itself. But society within the empire was transformed. Skilled peasants were leaving their rural homes for towns and cities, while the cities themselves, such as Johannes Gutenberg’s hometown of Mainz fought to eke out some measure of independence from the old feudal aristocracy. Money was assuming a progressively larger role, and it spoke louder than an inherited title. Always a reflection of the societies that had made them, books were changing in response. Gutenberg’s printing press, which churned out books too rapidly for them to be illustrated by hand, is often blamed for killing off the illuminated manuscript.