Through the Ages-Li Chen

Through the Ages 古 往 今 来

PB—1

李 真

L i C h e n

Through the Ages

古 往 今 来

李 真 Li Chen

古往今来 Through the Ages

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上海外滩ﾠThe Bund of Shanghai

古往今来 Through the Ages

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古往今来 Through the Ages

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古往今来 Through the Ages

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上海陆家嘴ﾠThe Lujiazui of Shanghai

古往今来 Through the Ages

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古往今来 — 李真

Through the Ages — Li Chen

出版 Published By

亚洲艺术中心有限公司 Asia Art Center Co. Ltd.

展览主办 Host

震旦博物馆 Aurora Museum

发行人 Publisher

展览协办 Co-host

总策划 Managing Directors 学术主持 Academic Director

展览统筹 Curatorial Management 展览助理 Exhibition Assistant

展务协调 Exhibition Coordinator 项目公关 Project Public Relations 总编辑 Editor

设计 Designer

设计协力 Associate Designer 摄影 Photographer 翻译 Translators 印刷 Printing

鸣谢 Acknowledgement 出版日 Published Date

李敦朗 Thomas Lee

亚洲艺术中心 Asia Art Center

震旦博物馆 Aurora Museum、

李宜霖 Alan Lee、李宜勳 Steven Lee 徐天进 Xu Tianjin

200023 上海市浦东新区富城路 99 号 99 Fucheng Rd., Lujiazui, Pudong New Dist., Shanghai 200023 Tel: +86-21-5840-8899 E-mail: museum@aurora.com.cn www.auroramuseum.cn

震旦博物馆 Aurora Museum、

徐浩洋 Erick Xu、晏旺 Angela Yan 吴韵璇 Spring Wu

张晓芳 Amy Zhang、杜漫舷 Fio Du、郑治伟 Eric Cheng、 庄孟 Chuang Meng、陈炜杰 Chen Wei Chieh、胡建 Hu Jian 苏恬巧 Emily Su、林怡慧 Yvette Lin、刘昊崴 Harvey Liu 徐浩洋 Erick Xu

宋狄谚 Sung Diyen 唐大为 Tang Tawei

吴钰山 Wu Yushan、宋帆 Song Fan

谢飞 Jeff Crosby、吴毅慧 Goh Ngee Hui、邬晨云 Elaine Wu 日动艺术印刷有限公司 Jih-Tung Painting Co. Ltd.

庄俊 Grace Zhuang、范雷震 Wilson Fan、楊麗雯 Vina Yang

2019 年 11 月ﾠNovember 2019

ISBNﾠ978-986-95664-3-8（精装）

版权所有，不得以任何形式或方式擅自复制本画册的任何部分。 Copyright © 2019 by publishers, artist and authors. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without the prior written permission of the copyright owners. 以下图片由 © 震旦博物馆授权使用ﾠThe following pictures are provided by © Aurora Museum:第 12、18、24、25、31、44、52、53、56、 62、68、74（佛教造像 Buddhist Sculptures）、77（佛教造像 Buddhist Sculptures）、95、98、153（佛教造像 Buddhist Sculptures）、186 页。

北京 Beijing

100015 北京市朝阳区酒仙桥路 2 号 大山子 798 艺术区（ 798 东街） Dashanzi 798 Art Dist., No.2, Jiuxianqiao Rd., Chaoyang Dist., Beijing 100015 Tel: +86-10-5978-9709 E-mail: beijing@asiaartcenter.org 台北一馆 Taipei I

10659 台北市大安区建国南路二段 177 号 No.177, Sec. 2, Jianguo S. Rd., Da-an Dist., Taipei 10659 Tel: +886-2-2754-1366 Fax: +886-2-2754-9435 E-mail: service@asiaartcenter.org 台北二馆 Taipei II

10462 台北市中山区乐群二路 93 号 No.93, Lequn 2nd Rd., Zhongshan Dist., Taipei 10462 Tel: +886-2-8502-7939 Fax: +886-2-8502-2656 E-mail: service@asiaartcenter.org www.asiaartcenter.org

Contents

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宇 · 宙之观 · 想 Meditating the Universe 赖素铃ﾠJoy Lai

变与不变 — 李真作品中的传统特征和当代性

Variability and Invariability — Traditional Characteristics and Contemporaneity of Li Chen’s Works 徐天进ﾠXu Tianjin

李真系列创作年表

Li Chen Chronology 从佛界到人间

From the Buddha Realm to the Human Realm 陈慧君ﾠTan Hwee Koon

展览现场

Exibition Views

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沉浮 · 疏漏法影 The Heavy Floating Shadow of the Dharma

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李义山ﾠLi Yishan

艺术家简历

Li Chen Biographie 震旦博物馆

Aurora Museum

Li Chen

古往今来 Through the Ages

宇·宙之观·想

Meditating the Universe

震旦博物馆 馆长 赖 素 铃

Joy Lai, Director of Aurora Museum

18—19

古往今来 Through the Ages

“往古来今谓之宙，四方上下谓之宇”，时间、空间、物质与能量的统一体构成宇宙， 震旦博物馆携手艺术家李真，与亚洲艺术中心合作举办“古往今来—李真个展”，通 过当代雕塑创作与古代佛教造像的今古对话，开启一项跨越时空的展览，带引观众领 会“道在中而莫知其所”之奥妙。 佛教造像随佛教由古印度传入中国，早期受印度犍陀罗、西域地区影响，此后逐渐与 本土传统融合，衍生出具有鲜明时代地域风格与中国文化艺术内涵的中国佛教造像， 成为中国佛教艺术的重要一环。 震旦博物馆收藏的佛教造像，主要为佛教艺术初期的犍陀罗造像与北魏、隋唐等时期 的本土化造像，清晰勾勒出中国佛教造像在本土化进程中所展现出的不同风格特征与 美学观点。 艺术家李真生于 1963 年，创作生涯始于传统佛像，在研究儒、道、佛等经典的基础上， 将当代感知融入其中，创造出兼融东方气韵与西方雕塑语汇的独特风格，同时关切当 下社会百态与对人性的思考，作品细腻温润，举重若轻又具磅薄气势。 多年来，李真在海内外许多城市举办过个展与群展，“古往今来—李真个展”是李真 在上海举办的首次个展，也是第一次尝试与古代佛教造像对话，回溯李真一路以来， 从早期传统佛像到最新雕塑作品的创作历程。 本次展览展出李真较早期的创作系列“空灵之美”、“虚空中的能量”，具代表性的“大 气神游”以及最新作品《神之弃物》（“青烟”系列作品），从展出作品《水月观音》 （1992）到《神之弃物》（2018），清楚勾勒出李真由佛教造像走向当代艺术，犹如升 华后的蜕变。 震旦博物馆馆藏佛教造像也成为解读李真作品的重要线索，二者共生形成对话场域， 这种“共生”体现在两个层面 : 与佛教造像一脉相承而又自出新裁。 以观音菩萨三十三化身之“水月观音”为例，最早的文献见于唐人张彦远《历代名画 记》，记载中唐画家周昉曾在胜光寺画了一幅水月观自在菩萨，背有竹林与一轮满月， “周昉菩萨端严，妙创水月之体”。周昉所绘的水月观音并未传世，不过，现存最早的 绢本水月观音画像—法国吉美博物馆所藏、出自敦煌藏经洞，有明确纪年的水月观 音图（公元 943 年），圆轮背光如月，圆内观音菩萨结跏趺坐于大莲花座上 ; 而在雕 塑方面，著名的北宋年间四川安岳毗卢洞紫竹观音造像，虽法相庄严，闲雅自在，却 未见圆光。 空花水月镜中像，万般皆无实相，水月象征诸法如幻的本质，但“水月”也传达出诗 意的感受，李真 1992 年创作《水月观音》时，改变传统水月观音造像习惯，让观音坐 在一轮满月之上，此创新形式在当时引来许多人争相模仿，李真也将这尊 1992 年《水 月观音》视为他在创作路上，从传统造像走向当代艺术的重要分水岭。

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古往今来 Through the Ages

佛教造像开启了李真走向艺术道路的大门，掌握佛教造像的仪轨之后，李真经历了一 段时期的思索。对比馆藏佛教造像，我们可以看到李真对佛像进行了造型简化，同时 注入世俗生活的情感，使其作品在具有古典气韵的同时兼有现代性。从早期《水月观 音》端庄秀美的宋之遗风，到《涅槃》、《无量寿》体态丰腴的唐代气韵，直追六朝高 古之风的《未来佛》、《接引》，李真在潜心研究传统的同时，将传统意象运用当代视 觉语汇进行创造性表达，与震旦博物馆长期推动“料、工、形、纹”的古器物学研究 方法亦能相互辉映。 展览以李真最具代表性的创作系列“大气神游”揭开序幕。进入博物馆前，观众已被 矗立于挑高连廊的大型作品《黄金雨》吸引，感受李真作品令人温暖微笑的魅力 ; 观 赏二楼汉唐陶俑展的观众，意外发现李真作品《烟花》在展厅的尽头散发光芒，绽放 岁月静好 ; 随着《天阙轻舟》的指引登上博物馆内的旋梯，在三楼历代玉器展厅遇见 李真 2018 年新作 ; 在四楼青花瓷展厅邂逅《清风云露》，于五楼古器物学研究中心与 《飞行乐土》、《浮光》共览黄浦江景风光无限，而后来到六楼的佛教造像展厅，体会 李真与古为徒的创作之蜕。 倒叙般的展陈脉络，以“大气神游”系列贯穿上下四方。李真自 2001 年开始创作、绵 延至今的“大气神游”系列作品，是李真从传统佛像另辟新局，在儒、释、道哲学与 诗词滋养下的创作，分布在博物馆二至六楼各层，串连三楼的李真 2018 年新作“青烟” 系列《神之弃物》，与六楼主展区的早期系列“空灵之美”、“虚空中的能量”，对比 之下，更能看出拉长时间轴之后，人生阅历淬练出的李真艺术风格演变。 一如李真谈最新力作“青烟”系列中的《神之弃物》：“那浮世显著韶金年华，天若不 以为然弃之，我将珍稀如定海《云簪》之执念”，他长期的创作脉络是一场交织密连的 庞大体系，以温润的形貌包藏锋利的意识，即使“神魄”、“不生不灭”、“天燧”及“凡 夫”系列未纳入这次展出，仍可感受到李真作品中互为表里的两大轴线：虚无的完美； 现实的、人性与社会的不完美。 既重又轻，是李真作品最为人熟知的意象，实际上，古与今、传统与现代、东方与西方、 虚与实、物质与精神、凡俗与超俗、写实与抽象、有意与无意……诸多看似二元对立 的矛盾与统一，都吸引着李真反复辩证，体现为作品的力道，自带气场，即使小作品 也内蕴巨大能量。 若以先秦两汉古籍《文子 · 自然》、《淮南子 · 齐俗训》揭示： “往古来今谓之宙，四方 上下谓之宇。”则“古往今来—李真个展”在历史长河中展开古今对话，展品散布于 博物馆各楼层的四方上下布局，俨然行星之于无垠宇宙，“道在中而莫知其所”，或许， 观众通过静“观”细“想”，便可邂逅隐含于天地间，古往今来共一时的美好。

古往今来 ― 李真个展ﾠ学术研讨会

Research Seminar of Through the Ages — Li Chen Solo Exhibition 艺术家李真接受媒体采访

Li Chen in a press interview

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古往今来 Through the Ages

“The character zhou (宙) means all of time, the past, present and future. And the character yu (宇) means heaven and earth as well as all the directions of north, south, east, west, the above and the below.” Collectively the two characters consists the “universe”, which is composed of time, space, matter and energy. In collaboration with Asia Art Center, Aurora Museum is honored to present Through the Ages — Li Chen Solo Exhibition. We hope to inspire a dialogue between contemporary sculpture and ancient Buddha statues, leading viewers to experience the beauty of ambiguity through “sensing the Tao without actually knowing it”.

The tradition of making Buddhist statue was introduced into China from ancient India. At first it was dominated by the influence of Gandhara and the Western Regions, and gradually it began to be integrated with Chinese tradition, which gave rise to Buddhist statue featuring both regional style and the profundity of Chinese culture and art. From this point on, the making of Buddhist statue became an important signature of Chinese Buddhist art.

The collection of Buddhist statues at Aurora Museum features both Gandhara-style statues and statues with local cultural characteristics made during Northern Wei, Sui and Tang Dynasties. A timeline demonstrating the different styles and aesthetics visions during the development of Buddhist statues making in China could be clearly perceived.

Li Chen was born in 1963, Li Chen’s artistic practice started from making traditional Buddhist statue. During the process, on the one hand he keeps studying classics of Confucianism, Taoism and Buddhism; and on the other hand, he manages to imbue contemporary perception into his practice, leading to a signature style that incorporates both eastern charisma and western sculptural language. Heavy and yet subtle, his work demonstrates the artist’s concern of the current social situation and his reflection upon humanity.

佛坐像

Sitting Buddha Statue 高 45 cm 石质 Stone 犍陀罗 Grandhara

佛坐像

Sitting Buddha Statue

高 64 cm 石质 Stone 犍陀罗 Grandhara

Through the years, Li Chen has presented many solo and group exhibitions in different cities, both at home and abroad. Through the Ages — Li Chen Solo Exhibition would be his first solo exhibition in Shanghai and also his first attempt to build a dialogue with ancient Buddhist statues. Traditional Buddhist statues from his earlier works and his latest sculptural works would be on display at the same time, showing a timeline of development and changes in Li Chen’s practice.

The Beauty of Emptiness and Energy of Emptiness, two of his earlier series, Spiritual Journey through the Great Ether, one of his most signature series, and Forsaken Relic (from the Ethereal Cloud series), one of his latest works, are all put on show at the exhibition. From Water-Moon Avalokitesvara (1992) to Forsaken Relic (2018), a metamorphosis in Li’s journey in the art world from traditional statue-making to contemporary sculptural practice could be perceived.

Aurora’s collection of Buhhist statues offer reference to interpret Li Chen’s work. Collectively, they form a field of dialogue, giving out a sense of “symbiosis”. Such “symbiosis” can be seen in two aspects: inheritance and innovation.

震旦博物馆藏唐代彩绘陶胡人乐俑ﾠPainted Hu musician pottery figures, Tang Dynasty, Aurora Museum

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Take the Water-Moon Avalokitesvara, the thirty-third manifestations of Avalokitesvara, for example. The earliest record of Water-Moon Avalokitesvara could be traced back to Famous Paintings through History, an arts book by Zhang Yanyuan of late Tang Dynasty. It was recorded that Zhou Fang, painter of Mid-Tang Dynasty, drew a painting of Water-Moon Avalokitesvara with bamboo forest and a full

古往今来 Through the Ages

moon at the background. But Zhou Fang’s work is already lost. The existing earliest silk painting of Water-Moon Avalokitesvara was created in AD 943. It was found in Dunhuang and is currently in the collection of Musée Guimet in France. In the painting, the Avalokitesvara sits on the lotus seat with legs crossed; and at the back, a circle of light appears just like the moon. In terms of sculpture, the statue created during Northern Song Dynasty in Sichuan Province is one of the most renowned. Magnificent and elegant as the statue is, there’s no delineation of the circle of light.

“Moon” and “water”, in Buddhism, refer to the essence of the world — emptiness. In the meantime, “moon” and “water” also give out a beautiful sense of poetry. When Li Chen started to work on Water-Moon Avalokitesvara in 1992, he made changes to the traditional way of statue making. Instead, the Water-Moon Avalokitesvara he created sat a full moon.

The innovation made quite a stir and was very much followed. The artist himself also reckons the Water-Moon Avalokitesvara he created in 1992 as a significant watershed, marking a shift from traditional statue making to contemporary art practice.

The making of Buddhist statue opened up Li Chen’s journey in the world of art. The mastery of traditional skills and patters pushed him to ponder further upon the possibilities of statue making. If we make a comparison between Li Chen’s work and those in Aurora’s collection, we’d see that Li Chen has simplified the image of Buddhist statues. And in the meantime, he has also imbued the emotions of the mundane life into them. As a result, the statues he presents radiate classic charisma as well as a sense of contemporaneity. From Water-Moon Avalokitesvara, which gives outs a sense of elegance that reminds viewers of the style of Song Dynasty, to Nirvana and Amitayus, which feature plumpness, a signature of Tang Dynasty, and then to Maitreya and Amitābha, which highlights the unadorned style of the Six Dynasties, we’d see Li Chen’s efforts to integrate traditional imagery with contemporary visual language. In nature, it shares something in similar with the research methodology Aurora Museum has consistently advocated and that places an emphasis on “material, technique, form and pattern”.

Spiritual Journey through the Great Ether, one of Li Chen’s signature works, is the first thing viewers would see when they step into the museum. And before they enter the museum, they’d already be intrigued by the smiling charm of Golden Rain, a large installation on view at the corridor connecting to the museum. Viewers seeing the exhibition of pottery figurines on the second floor, to their surprise, would encounter the brilliance radiated from Ephemeral Beauty at the end of the gallery. Following the instruction of Floating Heavenly Palace, on the third floor, in the gallery of jade ware, viewers would find some of Li Chen’s latest works. And on the fourth and fifth floors, viewers would find Soothing Breezes Floating Clouds, Float to Sukhavati and Flickering Moonlight respectively. Last but not least, in the Buddhist statue gallery on the sixth floor, the ancient statutes form an ingenious backdrop to perceive the inheritance and metamorphosis of Li Chen’s practice.

While the timeline of the exhibition is curated in a somewhat reverse manner, Spiritual Journey through the Great Ether plays the role as a hub. Spiritual Journey through the Great Ether is an ongoing series that Li Chen started to work on in 2001.

It demonstrates Li’s efforts to draw inspiration from Confucianism, Taoism, Buddhism and classic poems and his vision and bravery to break through the confines of traditional statue making. Placed at the second to the sixth floors, Spiritual Journey through the Great Ether connects Li’s latest work Ethereal Cloud and his earlier works The Beauty of Emptiness and Energy of Emptiness. With an somewhat stretched and elongated timeline, the evolution of Li’s artistic style, life experience and vision could be seen more clearly.

26—27

When talking about Forsaken Relic from his latest series Ethereal Cloud, Li Chen said: The sacredness and remarkability of the golden age are forsaken as relic by the passing of time, but I treasure them as an obsession. The vein of his artistic practice has gradually developed into an intricately-woven network, covering the somewhat sharp awareness within a seemingly soft and mild appearance. Even though Soul Guardians, Immortality, The Beacon and Ordinary People are not included in this exhibition, we’d still feel the two lingering axes in Li Chen’s work: empty perfection and the imperfection of the reality, humanity and society.

Heavy and yet subtle is the impression of Li Chen’s work. As a matter of fact, the past and the present, the traditional and the modern, east and west, emptiness and realness, the material and the spiritual, the worldly and the unworldly, the realistic and the abstract, the meaningful and the meaningless… all these “dual compositions” conflict each other and yet are unified under an overarching framework. Li Chen is deeply intrigued to explore in the realm brimming with conflicts. The result could be perceived within the inner force of his work: even small-scale sketch also radiates magnificent sense of energy.

In Chinese classics, the universe is divided into two parts: The character zhou (宙) means all of time, the past, present and future. And the character yu (宇) means heaven and earth as well as all the directions of north, south, east, west, the above and the below. In Through the Ages — Li Chen Solo Exhibition, a dialogue between the ancient and the present is built within the universe composed by Li Chen’s works from different time periods, leading viewers to experience the beauty of ambiguity through “sensing the Tao without actually knowing it”. If we take a moment to quietly observe and meditate, we’d encounter the eternal beauty that transcends time and space and is looming behind the universe.

变与不变—李真作品中的 传统特征和当代性

Variability and Invariability—Traditional Characteristics and Contemporaneity of Li Chen’s Works

北京大学中国考古学研究 中 心 教 授 徐 天 进

Xu Tianjin, Professor, Center for the Study of Chinese Archaeology, Peking University

古往今来 ― 李真个展ﾠ开�现场 Opening View

古往今来 Through the Ages

博物馆不仅是给我们提供关于过去的知识或常识的场所，同时也是激发我们 的想象力和思考能力，从而生产新思想，新方法的重要空间。 博物馆也是连接过去与未来的一座桥梁。 “古往今来 — 李真个展”在震旦博物馆的举办，可以被认为是对博物馆意义 的一种新诠释，同时也为李真先生的作品开启了另一种全新的解读方式。 李真是一位著名的雕塑家，他的雕塑作品曾在国内外许多艺术空间举办过不 同类型的展览，但在历史类的博物馆展出，这是第一次，因此别具意义。当 他的作品和中国古代佛教造像在同一空间并置时，我们才可以清晰地看见李 真作品的“前世”和“今生”，透过李真早晚不同时期的作品，不难发现源 于北朝以来佛教造像的艺术传统所留下的印痕，也因此而更准确的认清了他 所独有的语言特征和审美趣味。在这里，艺术家或者观众，都不难找到这些 作品在历史坐标中的位置。 当我们徜徉在博物馆，穿梭于古今的艺术杰作之间时，即可感受到“不舍昼 夜”的时光流变 —“古往今来”，同时也可以真切地体会到千百年来不曾 改变的一点，即人类对美好事物的追求和创造。 变与不变，是我们认识历史乃至艺术的两个方面，李真作品在震旦博物馆的 展出，可以给我们许多有益的启示。

徐天进，1958 年生于新疆乌鲁木齐。现任北京大学

学重点研究基地 ― 北京大学中国考古学研究中心主

Museums act as a space that not only provides us with knowledge of the past but also provokes our imagination and ability to think. It is an important space to generate new ideas and means.

曾先后策划“吉金铸国史 ― 周原出土西周青铜器精

Museum is a bridge that connect the past with future.

考古文博学院教授，博士生导师，教育部人文社会科

任。主要从事田野考古、商周考古的教学和科研工作。 粹”、“花舞大唐春 ― 何家村遗宝精粹”、“权力与

信仰 ― 良渚遗址群考古特展”、“鼎盛中华 ― 中 国鼎文化”等展览。

Xu Tianjin, born in Urumchi of Xinjiang Province in 1958, is professor and doctoral tutor in the School of Archaeology and Museology, Peking University. He has also served as director of the Chinese Archeological Research Centre of the Peking University, which is the core research base of the humanities and social sciences of the Ministry of Education. He is mainly engaged in field archaeology and the teaching and research on archaeology in Shang and Zhou Dynasties. He has curated a number of exhibitions as follows, Bronze History: Selection of Western Zhou Bronzes Excavated in Zhouyuan ; Treasures from Tang Dynasty: Selection of Hejia Village Legacy ; Power and Belief: Liangzhu Cultural Relics Archaeological Show ; Magnificent China: the Ding Culture in China.

With the opening of Through the Ages — Li Chen Solo Exhibition at Aurora Museum, it reveals a new interpretation of the museum as well as begins a new way of perceiving Li Chen’s work.

Li Chen is a renowned sculptor. His sculpture has been exhibited in many domestic and international art spaces. However, this is his first exhibition in a museum specialized in relics. As his work and ancient Chinese Buddhist statues are in juxtaposition, we can see clearly the “past life” and “present life” of Li Chen’s work. Through Li Chen’s early and more recent works, the influence of traditional Buddhist statue-making since the Northern Dynasties is evident, precisely pinpointing his unique artistic language and aesthetics. Here, both the artist and viewers can clearly find his art’s position in history.

As we weave through masterpieces of the past and present, we are hit with the feeling of fleeting time “through the ages”. Meanwhile, there is one thing that has not changed for thousands of years— human’s desire of creating wonderful things.

Change and changelessness are the two views for us to understand history and art. Li Chen’s exhibition at Aurora Museum can provide many enlightening revelations.

32—33

Spirituality 虚 无

1992 – 1997 空灵之美ﾠThe Beauty of Emptiness

2001 – 大气神游ﾠSpiritual Journey

through the Great Ether

1998 – 2000 虚空中的能量ﾠEnergy of Emptiness

李真年表

Li Chen’s Artwork Series

2008 – 2009 神魄ﾠSoul Guardians

2008 – 不生不灭ﾠImmortality

Reality 真 实

古往今来 Through the Ages

2011 – 青烟ﾠEthereal Cloud

2009 – 2010 天燧ﾠThe Beacon

2015 – 水墨ﾠWater-ink

2010 – 凡夫ﾠOrdinary People

34—35

古往今来 Through the Ages

从佛界到人间

From the Buddha Realm to the Human Realm

陈慧君 新加坡独 立 策 展 人

Tan Hwee Koon, Singapore-based Independent Curator

36—37

古往今来 Through the Ages

1. 前言 1990 年代，台湾佛教进入兴盛发展的新时代，佛教信众和供养人递增，佛庙寺院香 1

火鼎盛，这种现象与“人间佛教”的崛起和迅速传播息息相关 。人间佛教主张走入民 众、融入社会，强调有别于“出世”观念的“入世”精神，反映了“净土就在人间，宣 2

扬在人间实现净土”的信念 。艺术家李真（1963 年生于云林）就是在这种时代氛围之 下，于 1987 年接受一名佛教居士的委约，首次为佛堂创作凸显人性的佛像。李真对人 体结构的透彻理解让居士留下深刻印象，因此认为他是完成这次佛教造像的理想人选。 李真在大甲高中美工科接受正统美术教育期间，主修的是美术工艺科，他的导师陈幸婉 （1951 – 2004）、郑琼铭、李锦绣和黄步青（1948 年生于彰化）都是现代派画家李仲生 （1912 – 1984）的弟子。李仲生曾在上海和日本深造，主张艺术必须追求和表现东方精神， 3

其门下桃李包括东方画会的创办人 。李真也曾在台湾现代雕塑家谢栋梁（1949 年生于 台中）门下从事学徒工作，同时学习具有写实风格的人像雕塑。 李真是在 1997 年台北故宫博物院举办的《雕塑别藏：宗教篇特展》上首次接触上海震 旦博物馆的佛教造像收藏（前称震旦文教基金会收藏）。特展折射出 1990 年代的台湾 私人收藏家偏爱大量收藏古代宗教雕塑的现象，其中大部分私人收藏属于首次对外公开 4

展出 ，博物院石刻宗教造像原本为数不多，是此特展呈现了“历代雕塑大匠的辉煌成 5

就” 。李真自从在 1999 年成功举办首次个展“虚空中的能量”之后，尽管邀约不断， 他却开始减少佛像雕塑的创作，并从 2000 和 2001 年期间开始把心思放在当代艺术的实 践和发展上。艺评家王嘉骥谈到李真首次个展作品时，曾指出李真以“新佛像”和“现代 6

佛像”的创作自许 — 李真的创作动机，来自尝试把自己从“创新和自我表达”与“佛 教传统造像艺术在表现空间上的限制”之间所存在的矛盾中解放出来。王嘉骥也指出， “宗 教必须体察且适当顺应时代潮流与当代民情”，而开拓具时代性的宗教教义诠释，可为 7

宗教艺术造像开启各种新的可能性 。为探讨李真如何诠释佛教艺术传统和教义，本文将 着重介绍艺术家呈献于震旦博物馆的个展作品，其中十一件为佛像（和菩萨造像），六件 为充满童趣的人像，这十七件塑像完成于 1992 年和 2013 年期间，均来自“空灵之美” （1992 – 1997）、“虚空中的能量”（1998 – 2000）以及“大气神游”（2001 – ）雕塑系列。

2. 与震旦博物馆佛教造像收藏的一场古今对话 来自中国本土的北朝（以北齐为大宗）佛像，以及属于国际的健陀罗佛像最受震旦博物馆 创办人青睐，这种收藏取向形成了今天震旦博物馆佛像收藏的规模。李真在震旦博物馆 的首展，既标志着艺术家与该馆著名北朝佛像收藏相隔十七年后的第二次接触，也代表 了其作品与这批早期佛教造像的一次对话。与北朝佛像的古今对话和交流为他带来创作 上的启发，不但促成他在雕塑风格上的成熟发展，进而也让他在现代艺术创作上开启新风。 震旦博物馆的设计出自国际著名日籍建筑师安藤忠雄手笔，六楼展厅专门陈列北朝佛像 收藏，而李真的十一件佛像（和菩萨像）作品与古代佛像被安放在同个空间里一起展出， 足以实现一场传统和现代的交汇和碰撞。首次对外公开展出的三件作品 — 《水月观音》 （1992）、《接引》（1997）和《未来佛》（1997）均来自“空灵之美”（1992 – 1997）系列， 彰显出李真对传统的一份敬礼和新诠释。《涅槃》（1998）、《合十》（1998）、《三觉者》 （1998）、《无量寿》（1998）和《无忧国土》（1998）均属于 1999 年李真首展“虚空中 的能量”的五件参展作品，造型既简约又风格化，展现出蜕变中的新佛像风貌。李真在来 自“大气神游”（2001 – ）系列的三件雕像《云中一如来》（2002）、《西风佛来》（2007） 和《入世》（2007）中，则注入风趣幽默的元素，为作品平添人性化的色彩。

38—39

2.1 简约而风格化佛像（和菩萨像）造型的形成和发展 李真与震旦博物馆北朝 佛 教 造 像 收 藏 的 交 流 和 对 话，与 其 成 熟 风 格 的 形 成 息 息 相 关，是促成艺术家发展简约而风格化的佛像（和菩萨像）造型的关键。“空灵之美” （1992 – 1997）系列作品之《接引》和《未来佛》均完成于 1997 年，这两件作品与震旦 博物馆佛教造像收藏并列展出，一方面可被解读为李真向北朝佛像艺术致敬，另一方面 则体现了艺术家与北朝佛像进行直接对话和交流的意愿，后者让他在创作上深受启发。 8

陈慧霞指出，北齐佛陀立像“薄衣贴体，只见衣缘，没有衣褶表现” 。何恩之（Angela 9 Falco Howard）曾写道，北齐佛像的造型风格简洁流畅 。李玉珉强调，北齐佛像“头 10

11

面变圆，肉髻（usnīsa）低平” ；何恩之甚至认为北齐佛像头部肉髻根本不明显 。在 《接引》（1997）和《未来佛》（1997）这两件作品中，李真打造了简洁素朴的造像身形 曲线，佛头更为圆润，肉髻明显缩小，同时在造像若干部位注入能量，体现出早期对佛 像身形充“气”使之膨胀浑圆的尝试（见图一）。 “虚空中的能量”（1998 – 2000）系列中的其中五件作品 —《涅槃》（1998），《三觉 者》（1998），《无量寿》（1998），《合十》（1998）和《无忧国土》（1998），曾出现 于 1999 年李真首展（见图一）上，反映了李真的佛像（和菩萨像）创作正逐渐趋向简约 而风格化的造型，这时的佛像通体满满地充塞着“气”的能量。《合十》是一座与北齐 雕塑传统进行对话的立像，佛身素朴无华，造型线条简约流畅，通身注入均匀的气体， 头部肉髻进一步缩小，充分展现李真风格化佛像的特色（见图一）。《大士》（1999）虽 不属于李真在震旦博物馆个展的参展作品，却是足以展现艺术家成熟风格的重要代表作， 与他另一件充斥气体、展开双臂的菩萨像所展现的风格化形态遥相呼应。

3. 分散在博物馆公共空间内的人像 除 了 震 旦 博 物 馆 佛 教 造 像 展 厅 内 所 陈 列 的 佛 像 和 菩 萨 像 之 外，来 自“ 大 气 神 游 ” （2001 –）系列的六件充满童趣的人像，则分别安置在馆内多个公共空间内。《黄金雨》 （2005）耸立于临近二楼入口处的开放空间；《天阙轻舟》（2007）展示于二楼楼梯口

1

David Schak & Hsin-Huang Michael Hsiao, “Taiwan’s Socially Engaged Buddhist Groups,” China Perspectives no. 59 (May-June 2005): 43, accessed July 28, 2019, http://www.jstor.org.proxy.lib.sg/stable/24052291

2

David Schak & Hsin-Huang Michael Hsiao, “Taiwan’s Socially Engaged Buddhist Groups,” 43

3

An-yi Pan, “Modern Taiwan Ink Art: Postwar Internationalism,” M+ Matters | Postwar Abstraction in Japan, South Korea and Taiwan, June 28, 2014, accessed July 28, 2019, http://www.mplusmatters.hk/postwar/paper_topic3. php?l=en

4

Mianshan He, “7: Taiwan Buddhist Art and Taiwan Society” taiwan fojia yishu yu shehui in Taiwan Buddhism taiwan fojia, (Beijing: Kyushu Publisher jiu zhou chu ban shi, 2010), pp.349.

5

Hsiao-yi Chin, “Preface” in The Art of Contemplation: Religious Sculpture from Private Collections, ed. Huixia Chen and Yu-min Lee (Taipei: National Palace Museum, 1997), pp.3.

6

Jason Chia Chi Wang, “Li Chen’s ‘New’ Buddhist Sculpture,” Chinese Art News (CANS) issue 12,1999, No. 28, 60.

7

Jason Chia Chi Wang, “Li Chen’s ‘New’ Buddhist Sculpture,” 60.

8

Hui-hsia Chen, “Shantung Style Buddhist Statues Made During the Northern Dynasties” in The Art of Contemplation: Religious Sculpture from Private Collections ed. Chen, Huixia Chen and Yu-min Lee (Taipei: National Palace Museum, 1997), pp. 274.

9

Angela Falco Howard, “Part II. The Religious Tradition: Buddhas, Sages, and Heavenliy Worthies. 3. From the Han to the Southern Song” in Chinese Sculpture ed. Taiping Chang Knechtges and Zhenguo Li (New Haven & London: Yale University Press; Beijing: Foreign Language Press, 2006), pp. 295.

和古代陶俑展厅附近；《烟花》（2013）展示于二楼古代陶俑展厅的入口处附近；《清 风云露》（2005）展示于四楼青花瓷展厅内的休息区；《浮光》（2009）展示于五楼古 器物学研究中心入口处；《飞行乐土》（2002）则展示于五楼古器物学研究中心窗旁， 从窗外可俯瞰上海外滩黄浦江畔的繁华都市美景。

3.1 人生难得 强 调 以 人 为 本、与 社 会 紧 密 联 系 的 佛 教 思 想，发 端 自 近 代 佛 教 界 泰 斗 太 虚 法 师 （1890 – 1947）的学说，后来由其弟子印顺法师（1906 – 2005）传入台湾。印顺法师也 是慈济基金会创办人证严法师的依止师，主张佛教徒应该重新践行适当的宗教和行善 活动。印顺的佛学观点比太虚更注重为社会谋福祉，并把太虚的“人生佛教”重新定义 12

为“人间佛教” 。人间佛教强调人生难得，重视以人为中心，提倡“佛出人间，终不 在天上成佛”的教义—意即以人性视角看待融入人间的佛教 人也和佛一样拥有在人间修行成佛的独特机会

14

13

。人间佛教倡议的是，

。《入世》（2007）这件作品的重要性，

在于它标志着李真在题材上从佛和菩萨走向人的转折点，也是彰显出个人对人间佛教 15

入世精神教义的诠释（见图二） 。

古往今来 Through the Ages

3.2 题材由超凡人转向凡夫的重大改变 人间菩萨是佛法修行者的楷模，也是印顺法师倡导的学说要义，即人间佛教是一种“由 人而菩萨而佛”的修行过程，始于凡夫对自己身心的净化，从不断进修中引发菩提心 （bodhicitta），以行善利他为先，以成佛为理想，修成慈悲度人的菩萨道

16

。纵观李

真在 1998 年至 2013 年期间的雕塑作品，在题材上似乎有“由佛（和菩萨）走向人” 的这种倾向，这在本文提到的若干作品（如《合十》、《大士》和《烟花》）中可见一 斑（见图二）。随着题材上的改变，李真在创作上也逐渐减少采用传统佛教图像中与 佛陀相关的超凡完美形象。另外，作品《黄金雨》（2005）藉由外表普通但充满稚气 的造像，既体现了超凡人和凡夫身上的特征，又模糊了佛和人之间的界线，足以代表李 真在选材上从超凡人走向凡夫的蜕变。仔细端详之下，造像脸部留有眉间白毫（ūrṇā）， （两）耳厚长（pīnāyata-karṇa），体现出佛陀“三十二大人相”和“八十种随形好”的 17

某些特征 。李真的雕塑艺术在岁月的磨砺下日趋成熟，这时的塑像以人为重，与佛陀 相关的各种超凡特征逐渐消失，例如耳朵变小等，《清风云露》（2005）、《天阙轻舟》 （2007）、《浮光》（2009）和《烟花》（2013）等作品均为佳例（见图二）。李真在创 作中以新的艺术语汇塑造充满童趣的凡夫形象，这些头部浑圆奇大而耳朵小巧的造像， 是人间菩萨的化身，尽管有其不完美之处，却在不断修行中朝佛道前进。

4. 结语 李真在震旦博物馆的个人首展意义非凡。这是艺术家第二次近距离接触震旦的北朝佛 教艺术收藏（第一次是在 1997 年）。李真的现代雕塑作品穿插于馆藏的北朝佛教造 像之间，让他回到与佛教艺术传统的一场早期对话，也实现了作品与震旦佛教造像的 一次交汇碰撞。李真第一次接触震旦博物馆佛教造像收藏（当时称为震旦文教基金会 收藏）是在 1997 年于台北故宫博物院举办的《雕塑别藏：宗教篇特展》上。同年，李 真完成了《接引》（1997）和《未来佛》（1997）。这两件早期作品于震旦博物馆的 李真个展中首次公开展出。佛像造型素朴无华，线条流畅简约，佛头更显圆润，佛顶 肉髻（usnīsa）低平，可被视为是艺术家向北朝佛雕传统致敬的成果。李真也因这一传 统对他在创作上的启发，以至后来发展出我们今天熟悉的个人成熟风格，这在《合十》 （1998）等作品可见一斑。另一方面，李真所创作的一批充满童趣的凡夫造像，则分别 10 Yu-min Lee, “An Introduction to the History of Religious Sculpture in China” in The Art of Contemplation: Religious Sculpture from Private Collections ed. Chen, Huixia Chen and Yu-min Lee (Taipei: National Palace Museum, 1997), pp. 267.

11 Angela Falco Howard, “Part II. The Religious Tradition: Buddhas, Sages, and Heavenliy Worthies.

3. From the Han to the Southern Song,” pp. 274.

12 David Schak & Hsin-Huang Michael Hsiao, ibid: 45

陈列在震旦博物馆各个公共空间内，这些造像可被视为李真对印顺法师弘扬之人间菩 萨的具体诠释。李真创作中采用的题材和语汇，与印顺法师在晚年完成的著作《契理 契机之人间佛教》中强调的主要概念和术语 —“人、菩萨、佛、净土和入世”— 遥 相呼应

18

。艺术家在雕塑创作上的重要发展阶段正好与人间佛教在台湾的兴盛发展

时期吻合。“新佛像”的塑造或许是李真对人间佛教的一种反思，这种新佛教思潮于

1980 年代崛起，于 1990 年代开始蓬勃发展，强调与社会接轨、以人为重，是当代台

13 Yinshun, A Timely Teaching of the Timely Truth: Human Realm Buddhism Qili Qiji Zhi Renjian Fojiao (Taipei: zhengwen chubanshe, 1989), pp.47.

湾重大的宗教现象。

14 Yinshun, A Timely Teaching of the Timely Truth: Human Realm Buddhism Qili Qiji Zhi Renjian Fojiao, pp.33.

李真的宗教与世俗创作路线是并行发展的。总的来说，李真的作品体现了“由佛界走

15 David Schak & Hsin-Huang Michael Hsiao, ibid: 43 16 Yinshun, ibid, pp. 47.

17 John Powers, “Appendix I” in A Bull of a Man Images of Masculinity, Sex, and the Body in Indian Buddhism (Cambridge, Mass: Harvard University Press, 2009), pp. 234-239.

18 Bhikkhu Bodhi, “Master Yinshun” in The Buddhist World ed. John Powers (London and New York: RoutledgeTaylor & Francis Group, 2016), pp. 623-624.

40—41

向人界”的整体发展趋势，在题材上则把焦点从佛（和菩萨）身上转向刻画充满童趣 的凡夫身上。我们可以通过作品《黄金雨》和“大气神游”（2001 – ）系列看到人界 与佛界之间模糊的交叉点，是属于宗教性和世俗化特征相互交融的作品。曾接受过 现代艺术教育并拥有雕塑背景的李真，在 1987 年接受委约为佛堂打造佛像之后，很 快便胜任佛雕艺术家的新角色。李真最初以观摩博物馆收藏和翻阅博物馆展览图录 展开对佛教雕塑艺术的探索，后来藉由对佛教教义的研究和诠释，对佛教艺术有了 更深入的体会和感悟。李真不断寻找能符合当代社会需要的新佛像艺术语汇，最终

在造像上成功地从佛界跨越到人界，在题材上则把焦点从传统佛教艺术的佛陀（和菩 萨）转移至凡夫身上。与此同时，李真通过创作与中国雕塑传统和当代艺术进行对话 和交流，折射出对“东方精神”的现代性探索。李真在寻找新的佛教艺术表达方式的 过程中，无形中建立了独特的当代艺术语言，而这种充满个人风格的当代佛教艺术 创作于 2000 年以后，随着李真在纽约登场的首个国际展以及后来在威尼斯举办的特 展而大放异彩。

陈慧君，独立策展人，现居新加坡，伦敦大学亚非学院艺术史和考古学硕士，日本东京上智大学

比较文化学硕士。研究主题着重于东亚及东南亚现当代艺术，尤其涉及移民 / 离散主义及跨国主义， 近期研究延伸至古代与近现代佛教艺术史、佛学、佛教艺术博物馆学等，她的策展实践兼具深度 与广度，并以雕塑及水墨为主。

古往今来 Through the Ages

42—43

入世

Entering the World 35.5×36×80.5 cm 铜 Bronze 2007 合十

All in One 80×81×189 cm 铜 Bronze 1998 云中一如来

The Buddha in the Cloud 47×30×88 cm 铜 Bronze 2002

古往今来 Through the Ages

44—45

古往今来 Through the Ages

1. Introductions In 1990s, Taiwan was experiencing a new Buddhism growth and rapid bloom in followers, sponsors, and temples coinciding with an unparalleled popularity of a socially engaging Buddhism described as renjian fojiao 人间佛教, “Humanistic Buddhism” or “Human-Realm Buddhism” 1 . Translated as “terrestrial,” “this world” Buddhism or usually referred to as “engaged” or “socially engaged” and also expressed as rushi 入世, “entering” or “being in” the world as compared with chushi 出世, “leaving the world” – a reflection of a belief that “Pure Land is in this earth and with a mission to purify it” 2 . It was in this context that Li Chen (b. 1963, Yunlin) received his first Buddhist hall commission in 1987 by a lay Buddhist practitioner looking for a humanistic expression of Buddhist sculpture form who was impressed by his foundation in the human anatomy. Li Chen received a formal art education from National Ta-chia Senior High school majoring in art and crafts through his teachers Chen Hsing-wan (1951–2004), Cheng Chiung-ming, Li Junxiu (Lee Chin-hsiu) and Huang Buh-Ching (b. 1948, Changhua) — all students of Li Chung-sheng (Li Zhongsheng, 1912–1984), a Shanghai and Japan trained modernist painter who advocated the pursuit of an expression of the “Chinese spirit or Spirit of the Orient” 东方精神 to his students including the founders of Oriental (Eastern) Paintings Group 3 . While working in the studio of renowned Taichung modern sculptor Hsieh Tong-liang’s (b. 1949, Taichung), Li Chen also received training in the realistic style figurative sculpture.

1

David Schak & Hsin-Huang Michael Hsiao, “Taiwan’s Socially Engaged Buddhist Groups,” China Perspectives no. 59 (May-June 2005): 43, accessed July 28, 2019, http://www.jstor.org.proxy.lib.sg/stable/24052291

2

David Schak & Hsin-Huang Michael Hsiao, “Taiwan’s Socially Engaged Buddhist Groups,” 43.

3

An-yi Pan, “Modern Taiwan Ink Art: Postwar Internationalism,” M+ Matters | Postwar Abstraction in Japan, South Korea and Taiwan, June 28, 2014, accessed July 28, 2019, http://www.mplusmatters.hk/postwar/paper_topic3. php?l=en

4

Mianshan He, “7: Taiwan Buddhist Art and Taiwan Society” taiwan fojia yishu yu shehui in Taiwan Buddhism taiwan fojia, (Beijing: Kyushu Publisher jiu zhou chu ban shi, 2010), pp.349.

5

Hsiao-yi Chin, “Preface” in The Art of Contemplation: Religious Sculpture from Private Collections, ed. Huixia Chen and Yu-min Lee (Taipei: National Palace Museum, 1997), pp.3.

6

Jason Chia Chi Wang, “Li Chen’s ‘New’ Buddhist Sculpture,” Chinese Art News (CANS) issue 12,1999, No. 28, 60.

7

Jason Chia Chi Wang, “Li Chen’s ‘New’ Buddhist Sculpture,” 60.

46—47

In 1997, Li Chen first encountered the Aurora Museum’s Buddhist sculpture collection (then called the Aurora Foundation collection) at the National Palace Museum exhibition entitled, The Art of Contemplation: Religious Sculpture from Private Collection reflecting the 1990s phenomena of Taiwan’s private collector’s preference for building up large collections of ancient religious sculpture. It was the inaugural public exhibition for most of the private collections featured 4 , presenting “a rare glimpse at the glory of religious sculpture in China” in the previously underrepresented stone medium 5 . Following the success of Li’s first solo art exhibition in 1999, entitled Energy of Emptiness, he began to cut down on his thriving Buddhist sculpture commission work to focus on his contemporary art practice from 2000–2001 onwards. Jason Wang highlighted to the terms “new” and “modern” Buddhist sculpture that Li Chen referred to the works in his first solo exhibition—fuelled by Li Chen’s desire to break free of his predicament of being caught between “innovation and self expression” and the “limitation of expression in the canon of Buddhist art tradition 6 . Wang also suggested that the “doctrine interpretations of a religion evolving to a changing world and needs of a society” might open new possibilities for the imagery of religious art 7.

In an attempt to explore Li Chen’s interpretations of the Buddhist art tradition and doctrine, my essay will focus on a total of seventeen Li Chen’s artworks from 1992 to 2013 featured in the Aurora Museum solo exhibition. Eleven Buddhas (and Bodhisattvas) and six child-like human figures — extending from The Beauty of Emptiness series 空灵之美 (1992–1997); Energy of Emptiness series 虚空中的能量 (1998–2000); Spiritual Journey through the Great Ether series 大气神游 (2001– ).

2. Engagement with the Aurora Museum Buddhist Sculpture Collection The Aurora Museum Buddhist sculpture collection was shaped by the founder’s collecting preference for two concurrent threads of early Buddhist sculptures from: I. Local level, from the Northern Dynasties period (predominantly Bei Qi 北齐); and II. International level, from the Gandhāra period. Li Chen’s first solo exhibition at the Aurora Museum in Shanghai marked his second encounter with the renowned private collection of Northern Dynasties Buddhist sculpture collection after a lapse of seventeen years; and his direct engagement with the Buddhist art tradition – that has inspired his evolvement to his mature style and major shifts in his contem-

虚空中的能量 Energy of Emptiness series (1998–2000)

▼

空灵之美 The Beauty of Emptiness series (1992–1997) 图一：李真风格化佛像（和菩萨像）在造型上的转变 Figure 1: Li Chen’s Evolving Stylised Buddhas.

porary art practice. Li’s eleven Buddhas (and Bodhisattvas) sculptures were all situated within the 6F Aurora Museum Buddhist sculpture section of the museum designed by internationally renown architect Tadao Ando – in an engaging dialogue with both antiquity and the contemporary. Three works from The Beauty of Emptiness series (1992–1997) exhibited in public for the first time conveyed Li’s admiration and reinterpretation of antiquity — Water-Moon Avalokitesvara 水月 观音 (1992), Amitābha 接引 (1997), Maitreya 未来佛 (1997). Five simplified stylised Buddhas all from same year 1998 featured in Li Chen’s first solo art exhibition in 1999 the Energy of Emptiness are evolving self expressions of his “new” Buddha imagery — Nirvana 涅槃 (1998), All in One 合十 (1998), Three Bodies of Buddha 三觉 者 (1998), Amitayus 无量寿 (1998), Pure Land 无忧国土 (1998). Three Buddha form works from Spiritual Journey through the Great Ether (2001–) are perhaps Li’s more humanized attempts with injection of humour — The Buddha in the Cloud 云中一如 来 (2002), Elysium Buddha 西风佛来 (2007), Entering the World 入世 (2007).

2.1 Evolvement of a Simplified Stylized Buddha (and Bodhisattva) Perhaps Li Chen’s encounters and dialogue with the Aurora Museum Northern Dynasties Buddhist sculpture collection could explain for the evolvement of a simplified stylized Buddha (and Bodhisattva) figures that have now become associated with his mature style. The placement of Li’s Amitābha (1997) and Maitreya (1997), from The Beauty of Emptiness series (1992–1997) both created in 1997 together with the Aurora Museum Buddhist sculpture collection could be interpreted as his homage and intended direct engagement with the great Northern Dynasties Buddhist sculpture tradition that has inspired him. Hui-hsia Chen referred to a distinct type of style with light garments adhering to the body without the draped folds of clothing worn by standing Buddhas of the Northern Qi period 8 . Angela Falco Howard described the “simplicity and smoothness of modelling” in the Northern Qi style Buddha representation 9. Yu-min Lee highlighted that the heads of Buddhist sculptures during the Northern Qi Dynasty became round and usnīsas with reduced prominence 10 ; and Howard reiterated that in the Northern Qi style the ushnisha is hardly visible 11 .

In Amitābha (1997) and Maitreya (1997), Li Chen played with a silhouette outline of an unadorned lightly clad Buddha body defined by simple lines; a rounder Buddha head with less prominent ushnisha/usnīsa; and his early experimentations on the localized injection of “chi” in to parts of the sculptures (refer to Fig. 1).

The slow emergence of a simplified, stylized Buddhas (and Bodhisattva) figures with inflated “chi” more evenly distributed throughout the sculpture body are expressed in the five works from the Energy of Emptiness series (1998–2000) featured in Li’s first solo art exhibition in 1999 — from Nirvana (1998), All in One (1998), Three Bodies of Buddha (1998), Amitayus (1998), to Pure Land (1998). Li Chen’s signature stylised Buddha is fully expressed in All in One (1998) a standing Buddha in dialogue with the Northern Qi sculpture tradition (refer to Fig. 1) – a perfected version of unadorned lightly clad Buddha body with simple lines and smooth modelling inflated with “chi” evenly with a further reduced ushnisha/ usnīsa bum on the head (refer to Fig. 1).

8

Hui-hsia Chen, “Shantung Style Buddhist Statues Made During the Northern Dynasties” in The Art of Contemplation: Religious Sculpture from Private Collections ed. Chen, Huixia Chen and Yu-min Lee (Taipei: National Palace Museum, 1997), pp. 274.

9

Angela Falco Howard, “Part II. The Religious Tradition: Buddhas, Sages, and Heavenliy Worthies. 3. From the Han to the Southern Song” in Chinese Sculpture ed. Taiping Chang Knechtges and Zhenguo Li (New Haven & London: Yale University Press; Beijing: Foreign Language Press, 2006), pp. 295.

10 Yu-min Lee, “An Introduction to the History of Religious Sculpture in China” in The Art of Contemplation: Religious Sculpture from Private Collections ed. Chen, Huixia Chen and Yu-min Lee (Taipei: National Palace Museum, 1997), pp. 267.

11 Angela Falco Howard, “Part II. The Religious Tradition: Buddhas, Sages, and Heavenliy Worthies. 3. From the Han to the Southern Song,” pp. 274.

古往今来 Through the Ages

3. Humanized Expressions of a Child-like Figure in the Museum Public Spaces In-Between Besides the highlight of Buddhas (and Bodhisattvas) in the Aurora Museum Buddhist art section, a concurrent theme of six child-like human figures all from the Spiritual Journey through the Great Ether (2001–) distributed throughout Aurora museum in-between public spaces. From Golden Rain 黄金雨 (2005) in the 2F public area near the exhibition entrance; to Floating Heavenly Palace 天阙轻舟 (2007) near staircase area of the 2F near the Ancient Pottery section; to Ephemeral Beauty 烟花 (2013) near the entrance area of the 2F Ancient Pottery section; to Soothing Breezes Floating Clouds 清风云露 (2005) near the 4F rest area space of the Blue and White Porcelain section; to Flickering Moonlight 浮光 (2009) 5F Research center of the study of ancient artifacts entrance area; and Float to Sukhavati 飞行乐土 (2002) next to the 5F Research center of the study of ancient artifacts windows with a panoramic view of the Shanghai cityscape along The Bund across the Huangpu River.

3. 1 A Precious Human Rebirth A human-centric, socially engaged Buddhism developed from the teachings of an influential monastic, Venerable Taixu (1890–1947); and transmitted to Taiwan by his student, Venerable Yinshun (1906–2005). Venerable Yinshun, the tonsure master of Tzu Chi founder, Venerable Cheng Yen, encouraged “a return to appropriate religious practice and charity activity on the part of lay Buddhists”. Yinshun’s idea of Buddhism was even more centred on enhancing society than Taixu’s and he also renamed Venerable Taixu’s “Life Buddhism” 人生佛教 rensheng fojiao, “Humanistic Buddhism” 人间佛教 renjian fojiao or “Human-Realm Buddhism” 12 . Highlighting the significance of a precious human rebirth, and human-centric viewpoint that “Buddha became a Buddha in the Human Realm, not in the Buddha Realm”《佛出人间，终不 在天上成佛》fochu renjian, zhong buzai tianshang chengfo – that is, Buddhism in the Human realm from the perspective of Human Nature 人性 renxing 13 . Human-Realm Buddhism emphasizes the unique opportunity that human life offers for the quest and fulfilment of the final Buddhist goal of Buddhahood 14 . Li Chen’s Entering the World 入世 (2007) is not only a key work bridging between Li Chen’s major shift and change of subject focus from Buddhas (and Bodhisattvas) to Human but one that resonated with his doctrinal interpretation of Humanistic Buddhism also expressed as “entering” rushi 入世 or “being in” the world (refer to Fig. 2) 15 .

12 David Schak & Hsin-Huang Michael Hsiao, ibid: 45 13 Yinshun, A Timely Teaching of the Timely Truth: Human Realm Buddhism Qili Qiji Zhi Renjian Fojiao (Taipei: zhengwen chubanshe, 1989), pp.47.

14 Yinshun, A Timely Teaching of the Timely Truth: Human Realm Buddhism Qili Qiji Zhi Renjian Fojiao, pp.33.

15 David Schak & Hsin-Huang Michael Hsiao, ibid: 43 16 Yinshun, ibid, pp. 47.

48—49

3.2 Major Subject Shift from Superhuman to Human The Human Realm Bodhisattva is considered the exemplary Dharma practitioner and the principal proposition of Yinshun’s Human-Realm Buddhism conveyed by the phrase: “human to bodhisattva to Buddha” (ren, pusa, fo 人, 菩萨, 佛) beginning from the state of an ordinary person still subjected to defilements, one generates bodhicitta, the compassion determination to achieve Buddhahood for the well-being of all sentient beings by carrying out altruistic actions 16 . In Li Chen’s interpretation there

Buddha Realm 虚空中的能量 Energy of Emptiness series (1998–2000)

Human Realm 大气神游 Spiritual Journey through the Great Ether (2001– )

图二：李真在题材上把焦点从佛陀（和菩萨）转向人 Figure 2: Li Chen’s Change in Subject Focus from Buddhas to Human Figure.

seemed to be a reverse progression of figure representation in his body of works discussed here from 1998 to 2013 from Buddhas (and Bodhisattvas) to Human (refer to Fig. 2) – from All in One (and Avalokitesvara) to Ephemeral Beauty. This change is accompanied by a gradual reduction of traditional Buddhist iconography associated with Buddha as a perfect Superhuman in Li’s sculptures. Some evolving visual hints of this process are in the otherwise ordinary looking child-like figure in Golden Rain, 2005 – blurring the boundaries between Superhuman and Human. The retention of the tuft of hair between the eyebrows (ūrṇā) and the large and long ears (pīnāyata-karṇa) of the figure is associated with the Thirty-two Major and Eighty Minor Physical Signs of a Great Man 17. At the same time, there is also a slow emergence with time and maturity of an image that expresses the new human subject focus with a further reduction of the ear size and features associated with Buddha as a superhuman – from Soothing Breeze Floating Clouds, 2005; Floating Heavenly Palace, 2007; Flickering Moonlight, 2009; to Ephemeral Beauty, 2013 (refer to Fig. 2). An exaggerated round headed figure with small simple ears making its presence in Li Chen’s body of works as a new language of expressing the portraiture of a child-like Human with its imperfections as Human-Realm Bodhisattva on the way to Buddhahood.

4. Conclusion The significance of Li Chen’s first solo exhibition at the Aurora Museum, Shanghai and second encounter (first encounter in 1997) with the Aurora Northern Dynasties Buddhist art collection is his return to an early dialogue with Buddhist tradition and direct engagement with the Aurora Museum Buddhist sculpture collection – by the juxtaposition of the Northern Dynasties Buddhist art that have inspired him together with his contemporary interpretations. The highlights of this exhibition shown for the first time in public include two works created in the same year that Li first encountered the Aurora Museum Buddhist sculpture collection (then named the Aurora Foundation collection) at the National Palace Museum exhibition entitled, The Art of Contemplation: Religious Sculpture from Private Collection in 1997. Amitābha (1997) and Maitreya (1997) each respectively with a silhouette outline of an unadorned lightly clad Buddha body defined by simple lines and rounder Buddha head with less prominent ushnisha/usnīsa. Both sculptures could be read as Li’s early experimentation expressing homage to the Northern Dynasties tradition that eventually evolved into his mature style which we are more familiar with in All in One (1998). At the same time, Li Chen’s Child-like Human figures interspersed around the Aurora Museum in-between public spaces could be read as Li’s interpretations of Venerable Yinshun’s Human Realm Bodhisattva. The subject matter and vocabulary adopted in Li Chen’s art resonated with the key concepts and terminologies summarized in Venerable Yishun’s thin volume publication in his late years entitled, A Timely Teaching of the Timeless Truth: Human Realm Buddhism 18 —“Human, Bodhisattva, Buddha, Pure Land, Entering the World.”

Perhaps an expression of Li Chen’s “new” Buddhist art in response to the emergence of a socially engaged and human-centric Buddhism termed “Humanistic Buddhism” or “Human-Realm Buddhism” in the 1980s that expounded into a major phenomenon of the 1990s – coinciding with a critical development phase of his artistic development.

17 John Powers, “Appendix I” in A Bull of a Man Images of Masculinity, Sex, and the Body in Indian Buddhism (Cambridge, Mass: Harvard University Press, 2009), pp.

234-239.

18 Bhikkhu Bodhi, “Master Yinshun” in The Buddhist World ed. John Powers (London and New York: RoutledgeTaylor & Francis Group, 2016), pp. 623-624.

古往今来 Through the Ages

The concurrent emergence and development of both the Spiritual and Mundane threads in Li Chen’s signature style are consistent throughout his art practice. The general trend in Li’s expression is from the Buddha Realm to Human Realm with a change in subject focus from Buddha (and Bodhisattva) to Child-like Human figure.

At the intersection of the Spiritual and Mundane, one could also observe the blurring of realms within the same work in Golden Rain or the same series in Spiritual Journey through the Great Ether (2001– ). Coming from a modernist art education and sculpture background, Li Chen taught himself to adjust quickly to his new role as a Buddhist sculptor with his first Buddhist hall commission in 1987. Initially learning on a superficial level by visiting museum collections, reading museum exhibition catalogues; and subsequently he attempted to achieve a deeper level understanding by reading and interpreting Buddhist doctrines. While searching for a “new” Buddhist art in response to the contemporary needs, Li Chen has successfully transited from the Buddha Realm to the Human Realm and radically transformed the subject focus from Buddhas (and Bodhisattvas) in traditional Buddhist art to the Human Figure.

At the same time, Li’s artistic discourse and engagement with both the Chinese sculpture tradition and the contemporary reverberated with the modernist search for the Chinese Spirit or “Spirit of the Orient.” In the process of searching for a new expression in Buddhist sculpture, Li Chen found a unique new voice or artistic language in his contemporary art practice that took off from 2000 onwards with his international debut in New York and subsequently in Venice.

Tan Hwee Koon (MA History in Art and Archaeology SOAS University of London; MA, Master’s Programme in Comparative Culture Sophia University, Tokyo) is a Singapore-based independent curator with a research interest on both modern and contemporary East Asian and Southeast Asian art, in particularly, on migration/ diaspora and transnationalism. More recently, her research has expanded to include the fields of ancient and pre-modern Buddhist Art History, Buddhist Studies and Buddhist Art Museology. Hwee Koon is a versatile curator with a wide breadth and depth and an ongoing focus on Chinese ink and sculpture.

50—51

古往今来 Through the Ages

震旦博物馆馆藏佛教造像主要为佛教艺术初期的犍陀罗造像与北魏、隋唐等时期的本土化造像，清晰勾勒出中国佛教造像在本土化进程中 所展现出的不同风格特征与美学观点。

The collection of Buddhist sculptures in Aurora Museum are mostly Gandhara sculptures made in the early period of Buddhism art and localized sculptures of Northern Wei, Sui and Tang Dynasties, which clearly outline the different styles and aesthetic viewpoints emerged in the process of localization of Chinese Buddhist sculptures.

52—53

Li Chen dexterously fuses traditional and modern elements into his elegantly postured sculptures. Although the sculptures in meditation are seemingly traditional, the size, shape, and texture are filled with the vitality of Contemporary art.

以一种 优 雅 的 姿 态 结合 传 统 与 现 代 ， 冥想中 的 雕 塑 保 持 了传 统 的 特 征 ， 而它的 体 积 、 形 状 与表 面 质 感 却表现 了 当 代 的 活 力。

古往今来 Through the Ages

54—55

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall 接引 Amitābha 23.5×28×78 cm 玻璃钢 Fiberglass 1997

56—57

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

西风佛来

Elysium Buddha 45.5×28.5×80.5 cm 铜 Bronze 2007 李真手稿

Li Chen’s Manuscript

58—59

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall 合十 All in One 134×148×338 cm 铜 Bronze 1998

2011 年台北中正纪念堂 “大气 ― 李真台湾大型雕塑首展”

Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Chiang Kai-shek Memorial Hall, Taipei, 2011

60—61

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

入世

Entering the World 35.5×36×80.5 cm 铜 Bronze 2007 李真手稿

Li Chen’s Manuscript 入世（局部）

Entering the World (Detail)

62—63

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall 云中一如来（局部）

The Buddha in the Cloud (Detail)

无量寿 Amitayus 22×22×25 cm 铜 Bronze 1998

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

64—65

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

66—67

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

三觉者

Three Bodies of Buddha 135×55×90 cm 铜 Bronze 1998 李真手稿

Li Chen’s Manuscript

68—69

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall 李真的当代雕塑创作与古代佛教造像的古今对话

A dialogue between contemporary sculpture and ancient Buddha statues of Li Chen

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

70—71

古往今来 Through the Ages

Li Chen’s signature ink-black sculptures are known for being heavy but appear light, transcendent yet down to earth, combining Western art with Eastern aesthetic. There is a sense of humor and timeless wisdom in his artworks, as it is floating in the ether.

李真独创“既重又轻”的墨黑雕塑， 结合凡俗与超俗， 寻找东方与西方之间的美学内在逻辑， 创造生动的气韵和静穆感， 犹如在大气中漂浮。

72—73

（左）Left 合十

佛教造像展厅

6F

All in One 32×29×86 cm 铜 Bronze 1998

Buddhist Sculptures Exhibition Hall

（右）Right 佛立像

Standing Buddha figure 高 92 cm 石灰岩 Limestone 东魏 Kingdom of East Wei

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

74—75

古往今来 Through the Ages

（左）Left 佛立像

Standing Buddha figure

Buddhist Sculptures Exhibition Hall

高 76 cm 石灰岩 Limestone 北齐 Nothern Qi

佛教造像展厅

6F

（右）Right 接引 Amitābha 23.5×28×78 cm 玻璃钢 Fiberglass

1997

76—77

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

78—79

Li’s works fully demonstrates his solid skills in sculpting traditional Buddhist statues.

The structural expression of “aesthetic of emptiness” has also further influenced today’s making of religious art and handicraft works.

承袭传统造像方式， 展现李真在传统雕刻中打下的扎 实功夫。 影响所及，现今坊间宗教艺术与 工艺品等， 采用“空灵”结构来表现，已蔚 为潮流。

水月观音

Water-Moon Avalokitesvara 1992

1992 年，为李真脱离传统，尝试另辟

蹊径的一年。《水月观音》正是诞生于

此年，为其相当具有突破性的代表作， 更是李真艺术创作的重要改变起点。传

统的水月观音塑造方式为菩萨坐于石

上，石下有水浪。但李真认为“水月、 水月，既有水也有月。”因此，李真以

虚空化境的方式让菩萨悬坐于满月中， 利用菩萨的彩带结构悬于水上，让视觉 上充满空灵的美感。

The Water-Moon Avalokitesvara which created in 1992 is seen as a turning point of Li Chen’s artistic creation. It is really a breakthrough of him to challenge traditional iconography whereby the figure always depicted sitting on a rock above the water waves. In the artist’s view, both water and moon are indispensable elements to compose the name Water-Moon. Thus, for this elegant statue, the Avalokitesvara seated on a full moon “suspended” over the waters, evoking a highly ethereal aesthetic appeal.

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

82—83

接引（局部）Amitābha (Detail)

接引

Amitābha 1997

《 接 引 》，完 成 于 1 9 9 7 年 ，但 此 作 从 未 整 修 未 翻 铸（ 本 件 为 玻 璃 钢 原 件 ）, 于 震 旦 博 物 馆 首 次 公 开 发 表 。 这 件

作品是李真于上世纪 90 年代将传统进行创造性表达的

一 次 探 索 ， 其 中 最 特 别 之 处 是 李 真 将“ 自 己 形 塑 ” 于 佛 像 底 部 产 生 一 种 浮 游 感，整 体 疏 简 于 平 淡 中 流 露 出 北齐佛像之风韵。

Amitābha was completed in 1997, and it has never been cast in bronze (this is the original fiberglass piece). It’s the first time the statue shown to public in Aurora Museum. It could be seen as an attempt to explore for innovative expressions within the traditional in the 1990s. One of the characteristic thing about this piece is the artist moulded his own image into the bottom of the statue to generate a sense of floating. The plain but elegant style is permeated with rhythm of the statue from Northern Qi Dynasty.

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

84—85

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

古往今来 Through the Ages

未来佛（局部）Maitreya (Detail)

未来佛

Maitreya 1997

《未来佛》，创作于 1997 年，为李真早期“空灵之美”系列， 其展露出隋唐佛像遗风，体态丰腴，饱满壮硕，面容丰润，而

衣饰刻划，简洁明快，自然流畅。在此作形塑上，李真的创作

首度呈现出细腻的肌理效果与灵动的气韵感。弥勒佛陀赤足 踏立莲花座，双足微陷于其上，艺术家通过硬冷的材质体现

视觉感官的柔软，极其精妙地表现“气”与“能量”，一种举 重若轻的轻盈与内在的气势已见端倪。《未来佛》可谓李真 从“空灵之美”到“虚空中的能量”系列转折的重要佳作。

86—87

Maitreya was created in 1997, it is works of Li Chen’s early series The Beauty of Emptiness. The plump and strong figure, full and delightful face together with the clear, simple and smooth line of its clothes showcase the graceful style of Buddha statues in Sui and Tang Dynasties. This work is Li Chen’s inceptive try of adding exquisite texture and vivid charm. The Maitreya Buddha stood barefoot on a lotus pedestal.

The artist uses hard material to shape the Buddha and make the feet immerse slightly in lotus pedestal to create a visual percption of soft and supple. Thus, show “Spirit” and “Energy” in a smart and delicate way. The work shows a clue of artist Li Chen’s unique artistic manner of balance heavy and light. Maitreya is a breakthrough for Li’s art practice from The Beauty of Emptiness series to Energy of Emptiness series.

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

88—89

古往今来 Through the Ages

佛教造像展厅

6F

Buddhist Sculptures Exhibition Hall

无忧国土 Pure Land 110×40×63 cm 铜 Bronze 1998

90—91

无忧国土

Pure Land 1998

《无忧国土》是“虚空中的能量”系列中的代表作之

一。它不是法义诠释等问题，是艺术家由心而发对生

命精神的体悟，以简单容易感受的单纯去捏塑出的作

品，作品中的赤子无忧无虑飘然于顶峰，养空神游，

消遥而自在。从物理结构方式而言应是飘浮不安定的， 李真却能巧妙处理雕塑形体姿态与表情，尤其是双腿 交叉的部份，悠然自如，澄澈童稚。这浑圆线条充满

气体张力与能量，并使用中国墨黑色带有雾亮质感的 生漆，增加铜质本身新变化，整体雕塑有一种“既重

又轻”的效果，这非常完美的作品，如虚幻清净的官 感是李真独特的艺术面貌。

Pure Land is one of the most noticeable works in the series of Energy of Emptiness. It is not a theoretical interpretation of life but it was rather inspired by a artist’s comprehension towards the spirit of life. The work was constructed with casualness that could be transcended to spectators as well. It depictes a kid lying or almost floating on top of the mountain without any worries and seems to have traveled to another dimension. From a physics point of view, the object should have an unstable structure, but given Li Chen’s ingenuity, he managed to proportion the body and facial expression, especially where the legs cross, to create a sculpture of a carefree, innocent kid lying on a mountaintop. This work encompasses the design of full-figure contour at the same time it houses the exuberance derived from the tension and energy inside the sculpture. The use of raw Chinese lacquer also adds a new facade to its bronze material.

The entire work exhibits an allure of ambiguity between cumbersome and agility. This work is close to perfection in terms of indicating the uniqueness of Li Chen’s insight to arts.

无忧国土 Pure Land 451×133×243 cm 铜 Bronze 1998 李真手稿

Li Chen’s Manuscript 无忧国土（局部）

Pure Land (Detail)

古往今来 Through the Ages

2007 年第 52 届威尼斯双年展“虚空中的能量”

Energy of Emptiness, 52nd International Art Exhibition — La Biennale di Venezia, Venice, 2007

93—93

古器物学研究中心

5F

Research Center of the Study of Ancient Artifacts

古往今来 Through the Ages

浮光

Flickering Moonlight 120×59×128 cm 铜 Bronze 2009

94—95

浮光

Flickering Moonlight 2009

《浮光》在其底座的处理上，有别于一般传统雕

塑形式，诠释辉映着月光的影子，摇曳出无穷水 波，赋予静态雕塑移动感，而各元素的互动，由

水面牵引着月光闪动，点水的体态，在虚无间缥 缈，就如李真所言 :“生命一种成熟的阶段，才

能体会《浮光》的妙处。”，这静中求动的美感， 优雅浪漫的生活态度，广视人生万事，展现“逍 遥”状态，表露出雕塑语言上的超然境界。

Flickering Moonlight isn’t a traditionally designed one. The base represents moonlight flickering on the water, conveying a sense of constant movement. The moonlight, the water, all the elements are imbued with peace and serenity. As Li said, “You have to be mature enough to get the beauty of Flickering Moonlight”. The intriguing contradiction of still and suggestion of movement, the relaxed attitude towards life is a vivd testimony that is able to address us that the artist’s distinctive style.

浮光 Flickering Moonlight 304×156×314 cm 铜 Bronze 2009 浮光（局部） Flickering Moonlight (Detail)

2011 年台北中正纪念堂“大气 ― 李真台湾大型雕塑首展”

Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, Chiang Kai-shek Memorial Hall, Taipei, 2011

古往今来 Through the Ages

96—97

古往今来 Through the Ages

飞行乐土

Float to Sukhavati 2002

晨起，在天光中眺见山峦矗立在远方，绵软的云朵缭 绕四周，顿觉身心舒畅。李真借此作带领我们飘然直

达乐土，几乎感受到卧云的温柔与山峰的安稳，从视 觉、触觉、再触碰到心灵的感受，以舒畅疗补现代人 的精神失落。

Seeing the mountains afar with clouds around in the morning light could make one feel fresh both in the body and the mind. Li Chen would like to lead viewers straight to the land of Sukhavati to feel the calming force of the mountain and the gentleness of the cloud with this piece, which becomes a visual and sensual therapy for modern people’s spiritual lost.

李真手稿 Li Chen’s Manuscript

98—99

古器物学研究中心

5F

Research Center of the Study of Ancient Artifacts 飞行乐土

Float to Sukhavati 81×46×61 cm 铜 Bronze 2002 飞行乐土（局部）

Float to Sukhavati (Detail)

古往今来 Through the Ages

100—101

古往今来 Through the Ages

青花瓷器展厅

4F

Blue-and-White Porcelains Exhibition Hall

清风云露

Soothing Breezes Floating Clouds 70×50×120 cm 铜 Bronze 2005 李真手稿

Li Chen’s Manuscript

102—103

清风云露

Soothing Breezes Floating Clouds 154×113×308 cm 铜 Bronze 2005 清风云露（局部）

Soothing Breezes Floating Clouds (Detail)

古往今来 Through the Ages

2013 年巴黎旺多姆广场“既重又轻 ― 李真大型雕塑个展”

Li Chen 2013 Place Vendome Premiere Solo Exhibition in Paris, Place Vendome, Paris, 2013

104—105

清风云露

Soothing Breezes Floating Clouds 2005

形态惬意，云朵飘然，人物如道家仙者 飘于仙界，极具虚幻清净之气质，李真 曾题：“初化露、望长空、赤日地、御青

烟、乾坤扇、摇指风、天灵界、化三千” 的理想境界。但却曾说：“气温陡降，人

物流下鼻涕”，艺术家幽默地流露本心， 因此更强化人性的绝妙之处。

The figure appears as a Taoist god flying in the fairyland upon the cloud with relaxed facial expression. Li Chen once described it as follows, “It is formed from a morning dew, looking at the distant sky, riding on the drifting smoke in the scorching sunshine with a fan in the hand, traveling freely in different dimensions in unlimited forms.” However, he also interpreted it in a funny way, “Man blows his nose as the temperature drops.”

青花瓷器展厅

Blue and white porcelain exhibition

历代玉器展厅

3F

Ancient Jade Exhibition Hall

古往今来 Through the Ages

历代玉器展厅

3F

Ancient Jade Exhibition Hall

神之弃物 · 璎珞 Forsaken Relic · Keyūra 36×30×63.5 cm 铜 Bronze 2018 神之弃物 · 云簪（一） Forsaken Relic · Hairpin (I) 71×20.5×123 cm 铜 Bronze 2018 神之弃物 · 临门 Forsaken Relic · Finishing Touch 24×24×60 cm 铜 Bronze 2018

108—109

历代玉器展厅

3F

Ancient Jade Exhibition Hall 李真手稿 Li Chen’s Manuscript

古往今来 Through the Ages

110—111

神之弃物 · 云簪（一）

Forsaken Relic · Hairpin (I) 136×44×216.5 cm 铜 Bronze 2018

古往今来 Through the Ages

神之弃物 · 临门 Forsaken Relic · Finishing Touch 24×24×60 cm 铜 Bronze 2018

112—113

烟花（局部）Ephemeral Beauty (Detail)

烟花

Ephemeral Beauty 2013

“烟之花，一切美丽又短暂的花朵，在最饱满时落尘，如同青春的旅行……

我始终不舍！”李真言。《烟花》具有多层次的美感，包含长串的落花、 人物、到花床之三层结构。上层造型为奇石般的花瓣结晶体，并由华丽

的金色呈现，象征衰败前珍贵的绚烂时刻。再则，人物在木讷中体现一 种近似不舍低眉般笃实的静定凝观，与微抿嘴角中隐隐然震动的遗憾神

情，如此的灵俯眉宇间似是有了妙不可言的悟语。而安坐花床的默坐静 思， “有”与“无”的思悟于默识之中了然递嬗；它们因结晶而升华，并 非仅是荼靡的溃弃，而是自腐朽中转化为具永恒性的纯粹精神状态。

“Flower of ephemeral beauty falls to the ground in its full blossom; Like journey of the youth, it’s hard to let go!” Li Chen contemplated. Ephemeral Beauty consists of three parts: falling flowers, seated figure and the base. At the top is golden falling flowers in the form of an ancient Chinese literati rock, symbolizing the most gorgeous moment before decaying. The figure sit comfortably on the base with a serene expression. His eyes are closed, full lips recessed into fleshy cheeks, endowed with the uttermost spirituality.

古往今来 Through the Ages

古代陶俑展厅

2F

Ancient Pottery Figures Exhibition Hall 烟花

Ephemeral Beauty 49×50×148 cm 铜 Bronze 2013

114—115

烟花

Ephemeral Beauty 65×64×198 cm 铜 Bronze 2013 烟花（局部）

Ephemeral Beauty (Detail)

古往今来 Through the Ages

2017 年台北当代艺术馆“世 ― 一场自愿非愿的游浮”

Being: In/Voluntary Drift — Li Chen Solo Exhibition, Museum of Contemporary Art, Taipei, 2017

116—117

天阙轻舟

Floating Heavenly Palace 2007

《天阙轻舟》人物手顶着云端上的天阙，

在太湖石上单脚而立，竟轻松达到平衡、 泰然而立。金屋意有所指 ―权力吗？

财 富 吗？ 天 堂 或 极 乐 世 界？ 或 者 不 在

意？一种自在又逍遥连结天际、指引浮

云般的轻舟？待观者用自己的生命目标， 各自体会。

Floating Heavenly Palace, There is a golden palace in the cloud held by one finger of the smiling figure, who balances himself easily with one foot on a Taihu rock is composed and calm. What does this golden palace refer to? Power, fortune, heaven, utopia or nothingness? There is an unfetter freedom connecting to somewhere afar like a small boat floating above the cloud. Viewers are invited to find their own references with one’s own thoughts and life goals.

天阙轻舟

Floating Heavenly Palace 107×82×224 cm 铜 Bronze 2007 天阙轻舟（局部）

Floating Heavenly Palace (Detail)

古往今来 Through the Ages

古往今来 Through the Ages

黄金雨（局部）ﾠGolden Rain (Detail)

122—123

黄金雨

Golden Rain 2005

“大气神游”系列中的《黄金雨》作品完

成于 2005 年，李真于台中清水（高美）

湿地借景抒怀，雨后时分、夕阳落下地平

线前的闪闪余晖，夕阳将雨水映照成金黄 色，孩童在雨中畅快淋雨，将自身与大自 然融合为一，好不自在快活，李真将此情 此景具体化为实体雕塑作品。

Golden Rain, a part of the Spiritual Journey Through the Great Ether series, was completed in 2005. In this piece, Li Chen expresses his feelings through his portrayal of the scenery of Taichung County Gaomei Wetlands Wildlife Refuge. The rain has just stopped and the setting sun has painted the horizon golden with its shining rays, at the same time illuminating the raindrops with a golden hue. A child frolics joyfully in the rain, blending in with nature to become one entity. How happy he truly is! Li Chen freezes the moment and encapsulates it into his sculpture.

李真手稿 Li Chen’s Manuscript

黄金雨

Golden Rain 142×141.5×256.5 cm 铜 Bronze 2005

古往今来 Through the Ages

124—125

I Love creating something from nothing.

After I finish a clay model, The peak of the emotional rush has passed for me.

我喜欢无中生有。 当泥塑完成时， 最高的感动已经结束了。

Between “truth and illusion”, I took my first step, The path to realization was mush harder than creating art.

在“真实 与 虚 无 ”， 我走出 第 一 步 时 ， 实现的 路 途 远 比 创 作艰 辛 。

古往今来 Through the Ages

128—129

古往今来 Through the Ages

沉 浮 ·疏 漏 法 影

The Heavy Floating Shadow of the Dharma

李义山

Li Yishan

130—131

李真堪称是当代雕塑艺术的炼金术士，他擅长运用材 料语言转换物质间的属性对立关系，在试验的进程中 不断翻玩视觉上的感官认知，运用东方传统绘画的墨 色在作品上形成视觉感官上的“沉甸”与“厚重”， 代表大自然里的大地属性经过厚实沉重的智慧能量 粹炼后充气饱满，“冥想”与“意念”同时间漫漫浮 游于无形。李真的作品进程溯“古”汲“今”；作品 旨题广纳“天”与“世”；作品风格完备“东方”与 “西方”艺术语境。在纵横广度与深度的意涵下，以 佛法为心源，他让自己的作品点“石”成“金”，贯穿 佛法，结合佛学哲思义理，粹炼出全新的当代语境。

Li Chen is an alchemist of contemporary sculpture, adept at using material language to transform the oppositional relationships between properties of matter. In the process of experimentation, he constantly toys with visual perception, using the hues of traditional Eastern ink in his works to achieve a visual sense of “weight” and “mass.” The properties of the land, representing nature, have been transformed by the weighty energy of wisdom to become inflated and full, so that “meditation” and “intention” float in formlessness with time. Li Chen’s artistic process traces back to “antiquity” and touches on the “contemporary”; his subject matter encompasses affairs both “heavenly” and “worldly”; his artistic style is at home in both “Eastern” and “Western” artistic contexts. Looking across the breadth and depth of his art, he uses the Dharma as a wellspring, and turns the “stone” of his artworks into “gold,” penetrating it with Dharma, and incorporating Buddhist philosophy, to refine an entirely new contemporary context.

1 深潭光影 Light and Shadow over Calm Lake 61.4×16.9 cm 纸本水墨 Ink on paper 1997

1

2

3

2 无心海 Clear Soul 61.4×16.9 cm 纸本水墨 Ink on paper 1997 3 冰石 Icy Rock 61.4×16.9 cm 纸本水墨 Ink on paper 1997

4

4 李真于 2015 年“水墨系列”采用“帝王黑石”

雕刻生成波光粼粼的水泱效果

Black stone was shaped to resemble a rippling water surface in Li Chen’s Water-ink series in 2015

古往今来 Through the Ages

墨 ~ 戏弄（局部） Ink ~ Whimsical (Detail)

132—133

古往今来 Through the Ages

1

2

4

5

3 6

134—135

1 无垢?

Unadulterated ？ 2013

4 施取参梦 Dream of Life 2017

2 无疆 Boundless 2015

5 余韵 Reverberance 2015

3 懒人溪 Lazy Fall 2014

6 光年 Light Years 2013

1989 年是他与佛教雕塑结缘的启始，一位即将出家 的居士偶然看见李真以自己的儿子为模特儿捏制的 《神气》作品而邀请李真制作佛像，至此开启李真变 革传统佛像雕塑的历程。《神气》一作展现对细节与 情境再现的讲究，杏眼、浓眉及厚唇表现出逼真写实 的功力，而 1982 年李真于 19 岁时也曾以后来成为 他夫人的肖像模特儿制作《少女》变形塑像，闭眼及 微张的唇形捕捉女性柔美羞涩的神韵，拉长削尖的脸 形呈现西方雕塑之影响，于此因有一面之缘的居士预 见了李真对雕塑的灵性，致使李真在传统雕塑的创作

神气 Spirited 30.5×18.5×67.5 cm 玻璃钢 Fiberglass 1990

道路上为佛家法相雕塑注入以往所疏漏的人性、物性 及神性。于此之前，佛教造像的艺术塑性仅停滞于精 湛的雕刻技艺以及释典所制订的造像法规所带来的佛 学供养及服务功能的精神，而李真身处于当代艺术语 境，将源头直指于个人中心，由世化的虚空意境探求 佛性的本源，揭开宗教艺术的各种可能性，成为千年 来首次演化佛像艺术带来全新视觉性的当代艺术家。

His destiny first began to intertwine with Buddhist sculpture in 1989, when a lay Buddhist devotee saw his work Spirited, modeled on the artist’s son, and commissioned him to produce a Buddha statue. Thus began Li Chen’s journey of transforming traditional Buddhist sculpture. Spirited showed careful consideration for detail and the representation of circumstances. The almond eyes, bushy eyebrows and thick lips reveal powerful realism skills. In 1982, Li Chen, then 19 years old, created a distorted bust Maiden, modeled on the woman that would eventually become his wife. The closed eyes and slightly opened lips capture feminine tenderness and shyness, while the stretched and sharpened face shows the influence of Western sculpture. Seeing such things, the Buddhist devotee intuited Li Chen’s inspired insights into sculpture that would infuse Buddhist sculpture with humanity, materiality and divinity that had been rarely seen before. Before this, the artistic aspect of Buddhist sculpture was limited to meticulous carving craft and the spirit of offering and service functions arising from the rules for sculpture laid down in Buddhist texts. Meanwhile, Li Chen was situated within the contemporary art context, and treated the individual as his central wellspring, probing the origins of Buddha nature from a secularized imagery of emptiness, and uncovering all manner of possibilities within religious art to become the first artist in centuries to develop new visions in Buddhist art.

古往今来 Through the Ages

李真早期手稿

Li Chen’s Early Manuscripts 1997

136—137

守护者 Guardian

1998

古往今来 Through the Ages

少女 Maiden

1982

138—139

早期的佛教传统造像，不论是形象、手势、坐姿、法 器、挂饰等，通常都必须遵循一定的造像仪轨。经典 当中也必定对于诸神的形象描绘严格限制。然而，造 像过程在历经形式模拟、融会贯通的发展历程中逐渐 变革。李真在 1992 年完成首件佛像落款作品《水月 观音》，落款明示了李真对于佛教雕像创作的个人化 以及创作语汇的个性化，他遗弃释典详细制订的造像 法规，让随类应化的观世音菩萨悬坐于一轮明月之上， 随着波褶浪纹汲上的衣带化虚空为意境，形成既水有 月的“水月”观音，刻意描绘的水纹踏浪以及化外为 境的萌月有别于百年来传统描绘的《水月观音》意象， 李真于此开启了个人创作语汇的空灵美学，在落款的 那一刻起也预示了往后演进的写意气能风格。

Early traditional Buddhist sculpture, whether in terms of image, hands, posture, religious implements or adornments, had to follow rigid sculptural guidelines. The classic works were subject to strict limitations in their depictions of the gods. The sculpting process gradually developed through synthesis and fusion of forms. Li Chen created his first signed Buddhist sculpture in 1992, Water-Moon Avalokitesvara. The signature marked Li Chen’s individualization of Buddhist sculpture creation, his characterization of creative vocabulary, and his discarding of the detailed canonical rules for sculpture. A manifestation of Avalokitesvara sits on a bright, circular moon, the ripples of the clothing creating imagery of emptiness, creating an Avalokitesvara that is both of the moon and the water. The deliberate depiction of the ripples in the water and the transformed moon are departures from the traditional depictions of the “Water Moon Avalokitesvara” from the past century, and thus touched off his own lyrical aesthetic creative vocabulary. The moment he signed this artwork foreshadowed the future development of his freewheeling, energetic style.

水月观音（局部） Water-Moon Avalokitesvara (Detail)

古往今来 Through the Ages

（左）Left 自在

Avalokitesvara 33×33×63 cm 铜 Bronze 1995

（右）Right 云中佛

Buddha on the Cloud 17×22×58 cm 铜 Bronze 1998

140—141

普陀山 Pu-Tuo Mountain 54.5×33.5×112.5 cm 铜 Bronze 1993

古往今来 Through the Ages

（左）Left 宋朝菩萨坐像ﾠ纳尔逊 · 阿特金斯艺术 博物馆ﾠ堪萨斯ﾠ美国

Seated Bodhisattva, Song Dynasty. The Nelson-Atkins Museum of Art, Kansas, USA

（右）Right 宋朝观音菩萨坐像ﾠ亚洲艺术博物馆 旧金山ﾠ美国

Seated Bodhisattva Avalokiteshvara, Song Dynasty. Asian Art Museum of San Francisco, California, USA

1992 至 1997 年是李真将观音像推进至形象化的初 期阶段，除了《水月观音》外，《一叶》及《普陀山》 中安详的面容及秀美的仪态承袭了宋朝佛教造像的 风韵，五代至两宋的观音雕像除了吸收并改造外来 文化外并融合儒、释、道三教义理形成渗透了世俗化、 丰富人性化的宋代佛教雕像。收藏于美国旧金山亚 洲艺术馆的一尊宋朝观音菩萨坐像安然悠闲的坐姿 与清丽婥约的姿态说明了当时的观音形象已被塑造 为俗世群众，而另一尊美国纳尔逊 · 阿特金斯艺术博 物馆的宋朝菩萨坐像更显大器。二尊宋朝观音像以 潇洒的传统坐像显示雍容大气，下视的半睁眼以及 稜线分明的丰唇说明宋朝佛像脸部刻划的特色。而 此时期李真的观音像却以舟叶孵化再现《一叶》形 象，以观音云游海上仙山的姿态示意观世音菩萨发 源圣地“普陀山”之造境，乘风的神彩霞衣飞带令 人油生“野马飘鼓而不动”之姿。李真的佛像脸部 美学凝炼而纯粹，缓缓眉弧如弯弓，杏眼闭目如鼓睖， 微开的眼睑下垂落帘幕的冥思，与作品气流飘摇产 生反差的矛盾颇有一股八风吹不动之禅定，如此加 诸的情境营造，产生显着的空灵之美，以之对佛学 义理哲思之赞叹。

142—143

思维

Avalokitesvara 18×20×79 cm 铜 Bronze 1994

宋朝菩萨坐像ﾠ纳尔逊 · 阿特金斯艺术博物馆（局部）

Seated Bodhisattva, Song Dynasty. The Nelson-Atkins Museum of Art (Detail)

古往今来 Through the Ages

The years 1992 to 1997 marked a period in which Li Chen increasingly personified his image of Avalokitesvara. Aside from the Water-Moon Avalokitesvara, the tranquil face and beautiful demeanor in Avalokitesvara and Pu-Tuo Mountain carry on the traditional style of Song Dynasty Buddhist sculpture. From the Five Dynasties period to the Song Dynasty, Avalokitesvara sculptures absorbed external cultural influences, and incorporated elements of Confucianism, Buddhism and Daoism to form a secularized and richly humanized sculptural style. The calm, leisurely posture and tranquil demeanor of a Song Dynasty seated Avalokitesvara housed at the Asian Art Museum in San Francisco show that the image of Avalokitesvara at that time was already being shaped to resemble the secular masses. A Song Dynasty seated Bodhisattva statue at the Nelson-Atkins Museum of Art is an even more outstanding example. These two Song Dynasty Avalokitesvara statues with their relaxed traditional sitting posture have an air of magnanimity. The downward-looking, half closed eyes and the clearly defined, plump lips are characteristic of facial depiction in Song Dynasty Buddhist sculpture. At this time, Li Chen’s Avalokitesvara statues re-created the “Avalokitesvara” image as a leaf incubating Avalokitesvara, and depicted Avalokitesvara’s sacred origin at PuTuo Mountain with the Bodhisattva floating god-like on a sea of clouds. The billowing robes and flying ribbons call to mind the imagery of “wild horses charging, yet not moving” (Sengzhao). The facial aesthetic of Li Chen’s Buddhist sculpture is simple and refined, with a slightly curved brow like a bow, the almond eyelids closed to slits, eyes looking slightly downward in contemplation. Contradicting the sense of a floating, swaying breeze, there is a powerful sense of unmoving stability, a contrast producing a strong lyrical beauty in an ode to Buddhist philosophical thought. 一叶

Avalokitesvara 32×29×83 cm 铜 Bronze 1996

一叶（局部）Avalokitesvara (Detail)

144—145

（左上）Top Left 悲 Mercy 23.5×21×58.5 cm 铜 Bronze 1996 （右上）Top Right 智 Wisdom 23×21×55 cm 铜 Bronze 1996 （左下）Bottom Left 愿 Wish 22×21×55 cm 铜 Bronze 1996 （右下）Bottom Right 行 Fulfilment 23×21.5×53 cm 铜 Bronze 1996

古往今来 Through the Ages

此后，李真的塑像形态渐趋简化，在释典内容的诠释 上更趋繁复。1996 年所创作的《悲》、《智》、《愿》、 《行》四件菩萨作品面容端庄秀雅无疑地承袭唐宋诗 意韵味，在表现“慈悲”的观音菩萨像刻意加诸窝梨 的点饰，并在为众生度大“愿”的地藏菩萨像侧边凿 刻“地狱门”印记并刻划九界众生相，特别的点饰 逐渐凿开前所未有的当代佛教美学新视野，预示了

1997 年《接引》作品的完成。《接引》作品中，李 真将“自己”形塑于造像底部，颠复传统，完整表达 佛学无我中之“有我”创造性的一次探索。同年的《未 来佛》造像则为李真由“空灵之美”过渡到“虚空中 的能量”系列转折的重要作品，《未来佛》以行僧样 貌别于传统佛像，弥勒菩萨形象则隐藏于背后的石窟， 未来性十足，面露一抹了然于心的微笑，足踏莲花， 薄衣贴体，体态饱实，仿佛内部有肌理窜动，由空灵 之美的视觉效果进入对佛性空无的哲思，如此处理缩 小佛龛之比例造像是李真独特的具体诠释。这个时期 的造像风格已由宋朝世俗情感进入高古六朝疏简清贫 之美，相较于南北朝及其以前的佛教造像因着西域沿 丝路向东传播的北传系统而多受到古印度犍陀罗和笈 多式造像的影响，李真除了仍沿袭当时佛像造型体态 宽厚、饰物装扮疏简清风的传统风格外，他已大胆地 （上）Up 文殊菩萨智慧之化身其善巧法门辩才无碍（李真赋予新的表现方式）

Manjushri is the bodhisattva of wisdom and insight, penetrating into the fundamental emptiness, universal sameness, and true nature of all things. (Li sculpted the figure in a new way)

（左）Left 行（局部）

Fulfilment (Detail)

（右）Right 表现“慈悲”的观音菩萨像上加诸窝梨的点饰

Dimples on the face that reflect the profound compassion

146—147

将个人独创性语汇加诸于作品之上。

After this, Li Chen’s sculptural forms grew increasingly simple, while his interpretation of scriptural content grew increasingly complex. In the four Bodhisattva sculptures he created in 1996, Mercy, Wisdom, Wish and Fulfilment, the dignified, elegant faces clearly take on the feel of Tang and Song Dynasty poetry. In his expression of “compassion,” he adorned the face with dimples, while in the depiction of Ksitigarbha Bodhisattva, who “aspires” to the redemption of all living things, he has added “gates to hell” on his sides, as well as beings from the nine realms. These special touches gradually opened up an unprecedented contemporary field of vision for Buddhist aesthetics, and presaged his completion of Receiving Buddha in 1997. In Amitābha, Li Chen based the lower part of the statue on himself, thus subverting tradition and exploring expression of the “true self” in non-self. The Maitreya statue completed in the same year was a major turning point in Li Chen’s transition from a The Beauty of Emptiness to Energy of Emptiness.

Maitreya departs from traditional Buddhist iconography by using the form of a wandering monk, with the Bodhisattva’s image concealed in a niche at the figure’s back, the futuristic aspect of this “Future Buddha” appearing quite strong. The face features a slight trace of a smile, and the figure stands on a lotus flower. The thin robe clings to the body, which is full and solid, the skin seeming almost to quiver within. There is a shift here from the visual effect of lyrical beauty to Buddhist philosophical thinking on Buddhism. The compressed portions of the niche figure stand as Li Chen’s unique interpretation.

The style of his sculptures from this period shifted from the worldly emotions of the Song Dynasty to the simple, plain beauty of high antiquity from the Six Dynasties period. Compared to the Buddhist sculpture of the Northern and Southern Dynasties period and earlier, which reflected Central Asian influences in the northern traditions due to transmission along the Silk Road, the sculpture of this period showed more Gandhara and Gupta stylistic influence from ancient India. Aside from employing the wide, heavy body forms and clean, simple clothing and adornments of this traditional style, he also boldly infused these works with his unique individual creative vocabulary.

为众生度大“愿”的地藏菩萨像侧边凿刻“地狱门”印记并刻划九界 众生相

Depiction of gates of hell and beings in the nine worlds on Ksitigarbha Bodhisattva.

古往今来 Through the Ages

148—149

地藏行（局部）Ksitigarbha Bodhisattva (Detail)

古往今来 Through the Ages

（左）Left 无间化育

Unceasing Cultivation 34×38×72 cm 铜 Bronze 1999

（右）Right 地藏行

Ksitigarbha Bodhisattva 55×40×69.5 cm / 125×92×147 cm 铜 Bronze 2003

150—151

西方绘画之父乔托（Giotto di Bondone, 1266 −1337） 在 13 世纪时期于意大利为帕多瓦斯克罗维克礼拜堂 所作的壁画作品《哀悼基督》中描绘了耶稣基督受难 后钉死于十字架下放的情景。在乔托的选择下，以加 重画面中心圣徒约翰哀恸的表情与张开手臂的诠释， 极富张力。盘旋在上空的天使长袍飘飞，动作与神情 哀恸欲绝，与下方肃穆哀悽的圣徒形成对比。乔托淡 化了基督的神性，强调围绕在基督旁的圣徒及世俗群 众与耶稣之间的情感连结，无形中以此加强了耶稣基 督崇高的宗教精神性，并在当时突破中世纪对艺术塑 性的渴求，推波助澜地让绘画艺术推进至注重人文主 体、追求艺术家个人精神自由的文艺复兴时期。东方 的《涅槃》形象应为佛陀临终之时与之围绕在侧的诸 天神佛与佛门弟子之情景。李真的《涅槃》则以佛像 为主体，下方的十大弟子以凡人姿态专注于自身抑郁 悲伤的情感，头顶佛陀衬托气能充塞的轻盈佛身，而 刻意缩小比例的十大弟子与充气放大的佛陀身躯形成 视觉观感上的强烈反差，在物质与能量转换之间形成 既重又轻的物理感受，能量扩张而飘浮，佛陀超然离 尘的状态与下方悲伤抑郁而备感沉重不舍感知的十大 弟子形象形成虚空中不生不灭的永恒状态，真切的体 现佛理本质。

李真将“自己”形塑于《接引》造像底部

Li put a self-portrait at the bottom of Amitābha. 《未来佛》背部的佛龛与《云中佛》脚踩云朵与缩小比例的佛像是 李真对于佛法形象故事的具体诠释

The niche at the back of Maitreya and the small-sized Buddha standing on the cloud shown in Buddha on the Cloud show Li’s unique interpretation of Buddhist stories.

古往今来 Through the Ages

Lamentation, a fresco painted by father of Western painting Giotto di Bondone (1266 –1337), for the Scrovegni Chapel in Padua, Italy, depicts the scene of Jesus being taken down from the cross. Giotto exaggerates the mournful expression of John the Baptist at center, his arms wide open, in an interpretation full of tension. Angels fly overhead, their robes fluttering in the wind, with postures and expressions of profound grief, in contrast to the solemn mourning of the disciples below. Giotto dampened the divinity of Jesus, while emphasizing the connection to his surrounding disciples and the crowd, in this way subtly heightening the sublime religiosity of Christ, and breaking through the medieval demands for plasticity in art, thus making waves that pushed painting toward the increasing focus on humanist themes and pursuit of individual spiritual freedom of the Renaissance. The Eastern motif of Nirvana depicts the Buddha surrounded by deities and disciples at the moment of death.

The main figure in Li Chen’s Nirvana is the Buddha, with his ten principle disciples below depicted with the bearing of ordinary people as they look up in anguish, holding up the light body of the Buddha, inflated with qi energy, above them. The intentionally compressed proportions of the figures below form a stark contrast to the inflated body of the Buddha above, a physical sense of both heaviness and lightness emerging through the transformation between matter and energy, with the energy expanding and floating. The detached demeanor of the Buddha, and the burdened, anguished disciples, form a state of eternal endurance, a sincere embodiment of the essence of Buddhist thought.

未来佛

Maitreya 18×17×65 cm 铜 Bronze 1997

佛坐像

Sitting Buddha Statue

高古六朝佛像造型体态宽厚、饰物装扮疏简清风的传统风格

Buddhist statues of the Six Dynasties feature plump body and simple outlines without jewelry or princely clothes.

152—153

高 45 cm 石质 Stone 犍陀罗 Grandhara

涅槃 Nirvana 63×21×37 cm 铜 Bronze 1998

古往今来 Through the Ages

隋代刻像刻划清瘦，唐代则圆满风行，对于内在心理 描写深刻细致，同时间并承袭南北朝遗风又杂揉印度 天竺佛像之风格。唐时期的造像描绘面部圆润、体积 量感丰盈、衣带褶纹自然流动。从唐代的佛头石雕即 可看出丰润的面颊以及深邃的眼窝，1995 年的《灵 山》作品无疑是唐风美学的遗韵，而《灵山》中发螺 变形为李真形塑的一百八十罗汉昭示李真对于佛教义 理的独特诠释。1998 年始李真已借由佛法教义，全 面性进入个人创作当代语境，法影亦即“虚空”，而 “虚空中的能量”推进了李真创作系列的演进，也显 明地揭示了李真除了传承古代造像的遗风外，在个 人独特语境下与当代西方接轨。《无量寿》及《三觉 者》除了表现唐代圆润饱满之气度外，气能风格的主 张已经形塑了李真个人独特的雕塑。《无量寿》的造 型已然挣脱传统东方雕塑的束缚，膨胀的手臂刻意拉 长充满气能，英国 19 世纪雕塑家亨利 · 摩尔（Henry

Moore, 1898 –1986）以简化身躯造型而闻名，逐渐 抽象以及圆弧的身躯说明西方雕塑强调造型发展，与 东方造型艺术由内涵底蕴出发而变形有所不同。而 《三觉者》中以释迦牟尼佛像手持托钵端坐中央，左 方为阿弥陀佛手持莲花，右方的药师如来则手持宝 瓶以去众苦、治众病入世。过去三尊造像以无相不着 相，单一法相为脸部特征，李真的三尊造像皆脱离过 去高古佛像形态，充气而圆弧的身躯及四肢充满流线 造型。日本安平时代初期以传入的中国唐朝佛教造像 形态最具代表性，当时期的佛教造像有一称为“贞观 雕刻”，佛像表现以有性格着称，造像中尤以药师如 来广为流行。置放于奈良新药师寺中的一尊药师如来 以圆睁的双眼以及鼓胀的脸颊受人注目，《三觉者》 中的药师如来保留日本药师佛的脸部神韵，刻意下压 以及加厚的唇型加重严肃气息，其中坐的释迦牟尼佛 像则保留印度深邃五官的面相，而阿弥陀佛却保留华 人敦厚面相，展现李真一贯凝炼且纯粹的脸部美学造 诣，细腻地观察出不同区域以及佛教艺术视觉上的法 相流变。三尊如来整体以不同层次的墨黑表现庞大身 躯，而莲座空悬于无物之状态体现李真一直以来在哲 思内涵上、材料上、造型上以及美学上所意欲之沉重 之轻却又悬浮力重的独特东方语汇。

公元 2-3 世纪《涅槃》大英博物馆ﾠ伦敦ﾠ英国

Parinirvana, 2nd–3rd Century. British Museum, London, UK 公元 14 世纪乔托《哀悼基督》阿雷那教堂 佛罗伦萨ﾠ意大利

Lamentation of Christ by Giotto, 14th Century. Arena Chapel, Florence, Italy

154—155

涅槃（局部）

Nirvana (Detail)

古往今来 Through the Ages

Sui Dynasty sculpture was thin and lean, while the Tang favored plump figures, and more refined articulation of the inner state of the subject. The period continued the styles of the Northern and Southern Dynasties period, while incorporating elements of Indian Buddhist sculpture. Tang sculpture features round, full faces, plump, bodies and flowing robes. From Tang Dynasty stone Buddha heads, we can see plump cheeks and prominent dimples. Li Chen’s Holy Mountain, from 1995, bears clear traces of the Tang Dynasty aesthetic, but the transformation of the hair curls into the 108 erhats reveals Li Chen’s unique interpretation of Buddhist doctrine. By 1998, Li Chen had begun to move from Buddhist teachings into full immersion in the contemporary context of individual creation. The shadow of the Dharma remained principally in the form of “emptiness,” and “Energy of Emptiness” drove the evolution of Li Chen’s creations, while also clearly showing that beyond carrying on in the ancient stylistic traditions of sculpture, Li Chen was also engaging with the West in the contemporary context of individual creation. In Amitayus and Three Bodies of Buddha, aside from the round and supple air of Tang Dynasty sculpture, we can see that this qi energy style has come to reshape Li Chen’s unique sculptural style.

The form of Amitayus has cast off the limitations of traditional Eastern sculpture. The swollen arms are intentionally stretched and filled with energy. Nineteenth century British sculptor Henry Moore (1898–1986) was famed for his simplified human forms.

The increasingly abstract and curved bodies demonstrated the emphasis on formal development in Western sculpture, setting it apart from Eastern art’s emphasis on distortions arising from inner meaning. In Three Bodies of Buddha, Sakyamuni sits upright at center holding an alms bowl. To his left is Amitābha, holding a lotus flower, and to his right is Bhaisajyaguru, the Medicine Buddha, holding a jeweled vial to release the people from suffering and cure diseases. In the past, these three Buddhas were often depicted with minimal or unitary facial features, but Li Chen’s three sculptures all depart from the forms of high antiquity, being full of qi energy, with many curves, their limbs following flowing lines. The most representative Buddhist sculptural forms of the early Heian period in Japan spread there from Tang Dynasty China. There was a style of Buddhist sculpture at the time known as “Zhen Guan sculpture,” which was famous for its expression of character. Depictions of Bhaisajyaguru and Amitābha were particularly popular. The Bhaisajyaguru statue at the Shin-Yakushi-ji temple in Nara, Japan, is noted for its round open eyes and bloated face. The Bhaisajyaguru in Three Bodies of Buddha retains the charm of the Japanese statue. The intentionally drooping and thick lips add an air of solemnity. Meanwhile, the Sakyamuni seated in the center retains the recessed facial features of Indian sculpture, and the Amitābha has the frank facial features of a Chinese person. These facial features reveal Li Chen’s long-term refinement of facial aesthetics, with his exquisite observations of the changing visual features of various regions and of Buddhist art.

The large bodies of these three Buddhas are tinted in the black of ink to various degrees, while their positions sitting on thin air embody Li Chen’s longstanding unique Eastern philosophical, material, formal and aesthetic vocabulary of heavy lightness and suspended weight.

156—157

古往今来 Through the Ages

三觉者

Three Bodies of Buddha 91×34×68 cm 铜 Bronze 1998 三觉者（局部）

Three Bodies of Buddha (Detail)

158—159

2009 年新加坡美术馆 “李真：精神 · 身体 · 灵魂”

Li Chen: Mind · Body · Spirit, Singapore Art Museum, Singapore, 2009

三觉者

Three Bodies of Buddha 135×55×90 cm 铜 Bronze 1998

古往今来 Through the Ages

亨利 · 摩尔《王与后》亨利 · 摩尔故居ﾠ赫特福德ﾠ英国

King and Queen by Henry Moore. Moore’s former home, Hertford, U.K

160—161

（上）Up 李真早期手稿

Li Chen’s Early Manuscript 1996

（左）Left 裸女

Female Nude 1985

（右）Right 罗丹《沉思着》罗丹美术馆ﾠ巴黎ﾠ法国

The Thinker by Auguste Rodin.

Rodin Museum, Paris, France

古往今来 Through the Ages

Li Chen 李真 裸女

Female Nude 1985

162—163

灵山

Holy Mountain 24.5×22×56.5 cm 铜 Bronze 1996

古往今来 Through the Ages

李真的美学针砭生命经验的体悟，呈现淡然与虚无于 作品之上。回首 2001 年他开始褪去高古造像的轨迹， 追求纯然的创作自由之精神， “大气神游”系列作品 由 2001 年持续至 2015 年创作不辍，以东方传统水 墨绘画的墨色为主体形式，进行一场寻找自我精神空 间的释放，以金、银、墨黑三大元素为手段呈现作品， 他在往后的创作中陆续以金、木、水、火、土代表大 自然里的五种元素属性构成创作，有着脱胎凡俗与超 俗的气质，一种反璞天真的气韵，更有看透人世间的 诙谐俗性以讥讽人性的陋习隐喻人性欲望的根气。除 此之外，他亦开展其他系列作品，内容涵盖“神与魄”、 “识与悟”、“生与灭”、“气与灵”似“天”上及“世” 下二大空间所存在的非物质性探索，说明枯荣如白驹 过隙，幻化万物之空相。而届于耳顺之年的李真以最 新力作，法影之“青烟”又将再度展开自我解放，为 新东方视觉寻找新的契机……。（上篇）

（左）Left 唐朝菩萨头像 大英博物馆ﾠ伦敦ﾠ英国

Buddha Head, Tang Dynasty. British Museum, London, U.K.

（右）Right 公元 8 世纪药师如来 奈良药师寺ﾠ日本

Bhaisajyaguru Buddha, 8th Century. Yakushi ji Temple, Nara, Japan

164—165

Li Chen’s aesthetic pierces with insight into living experience, presenting detachment and emptiness in his works. Looking back, he began a trajectory of departure from high antiquity in 2001 to pursue a spirit of pure creative freedom. The works in what he calls the Spiritual Journey Through the Great Ether series, started in 2001, and continued without interruption until 2015, mainly took the color of traditional Eastern ink painting in a quest for release of the spiritual space of the self, and the heightened infusion of ethereal energy, presenting his works through three elemental colors of gold, silver and ink black. In the works that would follow, he continuously used metal, wood, water, fire and earth, representing the five elements of nature, to construct creations that seem to emerge from the mortal world but also possess a transcendent character, a character of return to innocence, humorous insight into human affairs, recognition of the ills of human nature, and metaphors of human desire. Beyond all this, he has also engaged in other artwork series, engaging in explorations of such dichotomies as gods and demons, recognition and enlightenment, generation and destruction, ether and spirit, and heaven and the mortal world, showing us that life’s ups and downs are like the white colt crossing a ravine, and revealing the emptiness of the myriad things. Now, in his sixth decade, Li Chen’s powerful new works once again engage self-liberation within the “Ethereal Cloud” of the Dharma’s shadow, finding new potential for a new Eastern vision...(first chapter)

灵山（局部）

Holy Mountain (Detail)

古往今来 Through the Ages

李真早期手稿（各种云的形态）

Li Chen’s Early Manuscripts (various types of cloud)

168—169

悟空 Sun Wukong (The Monkey King)

乘云气 Cloud Glider

三生石 Cause

仙境寻幽 Visiting Fairyland

1993

2003

思念 Missing

2012

2000

2004

御风游 Riding the Wind 古往今来 Through the Ages

2007

清凉山 On Cloud Mountains

山行旅 Travelling in Mountains

冥想 Fantasizing

云游 Playing in the Cloud

2003

2012

一缕 Fleeting Wisp 170—171

2011

2003

2012

日行千里 Moving On

2011

古往今来 Through the Ages

蒙之初

The Genuine State 2009

李真 2009 年作品《蒙之初》欲传达最单

纯的元素“精、气、神”，反应最初的纯

净根源。“蒙”在此有开始、单纯之初的 意思，而整个作品名称“开始”之初，又

更加地显现纯朴本始的意念。世间的纷扰 掩蔽了人类最基本的纯净，人们其实仍有 能力觅回与生俱来的天性。雕塑主体伸展 的肢体，摊开的双掌，放松而怡然自得的

神情，释放出三尊精灵模样的“精、气、 神”形体，亮银色调，清透纯净，启迪出 恬淡于世事，内心清洁无染，心中的杂质 与俗念净除，而精灵舒坦地惬意沉醉，安

详无扰的表情，雕琢之深刻，令观赏者感 受其中，心灵随之放松。

Li Chen’s The Genuine State portrays the purest elements which are “energy”, “chi” and “spirit”, to picture the origin of innocence. The artist believes that one has the ability to discard outside influence and return to the original state where we feel most comfortable and carefree. The figure stands with his arms and hands wide open releasing three angels floating peacefully with relaxed face expressions.

蒙之初（局部）

The Genuine State (Detail) 李真工作室底稿

Li Chen’s Engineering Draft

172—173

古往今来 Through the Ages

1

3

2

1 一缕 Fleeting Wisp 128×110×349 cm 不锈钢 Stainless Steel 2011 2 善变 Mood Swing 445×200×272 cm 不锈钢 Stainless Steel 2012 3 善变（局部） Mood Swing (Detail)

174—175

善变（局部）ﾠMood Swing (Detail)

古往今来 Through the Ages

176—177

日藏 · 月风

Eclipse · Twilight Breeze 30×16×22.5 cm / 65×30×63 cm 铜 Bronze 2016

古往今来 Through the Ages

178—179

古往今来 Through the Ages

万丈金乌 · 千葵之一（局部）

Radiance · Chiliadal (I) (Detail)

李真手稿

Li Chen’s Manuscripts 2018

180—181

于 2019 年，艺术家李真使用日本百年古代纸进行创作

Li Chen painting Washi, a traditional Japanese paper, 2019

李 真 Li Chen

个 展

2019

“疏漏法影 — 李真青烟系列个展”，亚洲艺术中心，北京

2018

“古往今来 — 李真个展”，震旦博物馆，上海

2017

“世 — 一场自愿非愿的游浮”，台北当代艺术馆，台北

2014

“荒徒 — 李真凡夫系列首展”，亚洲艺术中心，北京

2013

“华人艺术纪 — 李真文献展”，亚洲艺术中心，台北 “既重又轻 — 李真 2013 巴黎旺多姆广场大型雕塑个展”，旺多姆广场，巴黎

2012

“造化之不生不灭：千岁与草民”，弗莱伊美术馆，西雅图

2011

“大气 — 李真台湾大型雕塑首展”，中正纪念堂，台北

2010

“天燧 — 夜光盈昃新系列发表”，上海艺术博览会国际当代艺术展，上海

2009

“李真：精神 · 身体 · 灵魂”，新加坡美术馆，新加坡

2008

“神魄”，亚洲艺术中心，北京 “寻找精神的空间”，中国美术馆，北京

2007

“虚空中的能量”，第 52 届威尼斯双年展（威尼斯未来展望美术馆），威尼斯

2003

“大气神游”，古豪士画廊，纽约

1999

“虚空中的能量”，台北世界贸易中心一馆，台北

Solo Exhibitions 2019

“Shadow of the Dharma — Li Chen ‘Ethereal Cloud’ Series Exhibition”, Asia Art Center, Beijing

2018

“Through the Ages — Li Chen Solo Exhibition”, Aurora Museum, Shanghai

2017

“Being: In/Voluntary Drift — Li Chen Solo Exhibition”, Museum of Contemporary Art, Taipei

2014

“Journey of Solitary Existence: Li Chen Ordinary People Debut Exhibition”, Asia Art Center, Beijing

2013

“Chineseness — A Documentary Exhibition on Li Chen”, Asia Art Center, Taipei

“Li Chen 2013 Place Vendôme Premiere Solo Exhibition in Paris”, Place Vendôme, Paris

2012

“Li Chen: Eternity and Commoner”, Frye Art Museum, Seattle

2011

“Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan”, Chiang Kai-shek Memorial Hall, Taipei

2010

“The Beacon — When Night Light Glimmers”, ShContemporary 10, Shanghai

2009

“Li Chen: Mind · Body · Spirit”, Singapore Art Museum, Singapore

2008

“Soul Guardians — In an Age of Disasters and Calamities”, Asia Art Center, Beijing

“In Search of Spiritual Space”, National Art Museum of China, Beijing

2007

“Energy of Emptiness”, 52nd International Art Exhibition — La Biennale di Venezia (Telecom Italia Future Centre), Venice

Currently lives and works in Taichung

2003

“Spiritual Journey through the Great Ether”, Michael Goedhuis Gallery, New York

and Shanghai

1999

“Energy of Emptiness”, Taipei World Trade Center Hall 1, Taipei

1963 生于云林 Born in Yunlin 1981 大甲高中美工科毕业 Graduated from National Dajia Senior High School 现工作及生活于台中及上海

古往今来 Through the Ages

群 展

2019

“第二届平遥国际雕塑节”，平遥古城，晋中

2008

“源 — 第一届月亮河雕塑艺术节”，月亮河当代艺术馆，北京

“佛陀 · 中国 — 甘肃省博物馆藏早期佛教文物展”，苏州博物馆，苏州

2016

“文兮归来 — 中国当代艺术展”，深圳美术馆，深圳

2007

“威尼斯第十届国际雕塑及装置大展 OPENASIA”，威尼斯

“第 68 届戛纳国际电影节邀请展”，戛纳

“天行健 — 中国当代艺术前沿展”，亚洲艺术中心，北京

“枕流漱石 — 当代文人艺术展”，亚洲艺术中心，北京

“世事而非”，斗山艺术中心，首尔

“新态 -2015 太原国际雕塑双年展”，太原美术馆，太原

“中国当代雕塑十人展”，亚洲艺术中心，北京

“第二届中国当代佛教艺术展”，梵宫，无锡

2014

“相遇丝绸之路 — 中国新疆国际艺术双年展”，新疆国际会展中心，

2004

“虚拟的爱 — 当代新异术国际展”，当代艺术馆，台北 “威尼斯第七届国际雕塑及装置大展 OPENASIA”，威尼斯

乌鲁木齐

2013

“中国当代艺术前沿展 1966-2006”，路易斯安那现代美术馆，哥本哈根 “中国当代艺术前沿展 1966-2006”，以色列博物馆，耶路撒冷

“蜕变 — 中国 − 意大利当代艺术双年展”，马奈草地美术馆，北京

2015

“新东方精神展览 I — 沉积”，亚洲艺术中心，北京

“文化 · 精神 · 生成”，第 55 届威尼斯双年展（威尼斯莫拉宫殿），威尼斯

2003

“深层境界”，古豪士画廊，伦敦

“延伸 · 2013 大同国际雕塑双年展”，中国雕塑博物馆，大同

2001

“无疆界的中国 — 华人当代艺术联展”，苏富比曼哈顿总部，纽约

2012

“水土木金土 — 伊通生活空间”，伊通生活空间，台北

2011

“灿烂的伦理学”，Interalia Art Company，首尔

2010

“新东方精神 II — 承启”，亚洲艺术中心，北京

“活灵活现”，富邦艺术基金会，台北

2000

“记忆”，富邦艺术基金会，台北

Group Exhibitions 2019 “2nd Sculpture Projects Ping Yao”, The Ancient City of Ping Yao, Jinzhong

2008

“Spirit of the East I — Accumulations”, Asia Art Center, Beijing

“Buddha · China — Buddhist Objects in the Early Stage from the Gansu Provincial Museum”, Suzhou Museum, Suzhou

“The Origin: The First Annual Moon River Sculpture Festival”, Moon River Museum of Contemporary Art, Beijing

2016

“The Return of Elegancy — Chinese Contemporary Art Exhibition”, Shenzhen Art Museum, Shenzhen

2007

“China Onward: Chinese Contemporary Art, 1966 – 2006”, The Louisiana Museum of Modern Art, Copenhagen

“Metamorphosis — Biennale China-Italia”, Manet Art Gallery, Beijing

“China Onward: Chinese Contemporary Art, 1966 – 2006”, Israel Museum, Jerusalem

2015

“Invitational Exhibition at the 68th Festival de Cannes”, Cannes

“OPENASIA, 10th International Exhibition of Sculptures and Installations”, Venice

“Rest on Water and Gargle with Stone — Chinese Contemporary Literati Art”, Asia Art Center, Beijing

“The Power of the Universe — Exhibition of Frontier”, Contemporary Chinese Art, Tsia Art Center, Beijing

“2015 Taiyuan International Sculpture Biennial”, Taiyuan Art Museum, Taiyuan

“The 2 Chinese Contemporary Buddhist Art Exhibition”, Buddhist Palace, Wuxi

“Exploration and Revolution of images in reality by the 14 contemporary Chinese Artists”, Doosan Art Center, Seoul

2014

“Meet on the Silk Road — The 1st China Xinjiang International Art Biennale”, Xinjiang International Convention and Exhibition Center, Urumqi

“Top 10 Chinese Contemporary Sculpture Exhibition”, Asia Art Center, Beijing

2004

“Fiction Love — Ultra New Vision in Contemporary Art”, Museum of Contemporary Art, Taipei

nd

2013

“Culture. Mind. Becoming”, 55 International Art Exhibition - 2003 La Biennale di Venezia (Palazzo Mora), Venice

“OPENASIA, 7th International Exhibition of Sculptures and Installations”, Venice

“Extension — 2013 Datong 2 International Sculpture Biennale”, Datong, Shanxi

2003

“Inner Nature”, Michael Goedhuis Gallery, London

2012

“The Five Elements: Water, Fire, Wood, Metal, Earth”, IT Park, Taipei

2001

“China Without Borders”, Sotheby’s New York, New York

2011

“Splendid Ethics, Interalia Art Company”, Seoul

“Vitality”, Fubon Art Foundation, Taipei

2010

“Spirit of the East II — Bridging”, Asia Art Center, Beijing

2000

“Recording - Recalling”, Fubon Art Foundation, Taipei

th

nd

184—185

古往今来 Through the Ages

震 旦博物馆 Aurora Museum

震旦博物馆是上海陆家嘴地区第一座私立艺术博 物馆，于 2013 年 10 月正式对外开放。馆区共计 六层，面积 6316 平方米。 震旦博物馆以历史与艺术并重，集典藏、研究、展 览、营运、传扬为一体，秉持对中国文化保护、传 承、奉献的理念，宣导与推广以料、工、形、纹为 核心的古器物学研究，并与北京大学考古文博学 院等合作，力求在馆校合作的平台上不断完善。 馆内藏品以佛教造像、玉器、陶器及青花瓷器为 主，分常设展览与专题特展两部分陈列，并专门 设立古器物学研究中心，在充分展现中国古代文 化艺术成就的同时，从古器物学的角度对藏品进 行解析研究，多角度、多侧面向观众揭示历史文 物丰富的文化内涵。 震旦博物馆自 2013 年 10 月对公众正式开放以来，

Aurora Museum is the first private art museum in the Lujiazui area of Shanghai, which was officially opened in October 2013.

It has six floors and 6316 square meters.

Aurora Museum pays equal attention to history and art, and considers collection, research, exhibition, operation and promotion as a dynamic whole. Adhering to Chinese culture of “protection, inheritance, and dedication”, the museum promotes the study of ancient artifacts with the core of “material, technique, form and pattern”, and cooperates with Peking University’s School of Archaeology and Museology etc. to strive to improve on the platform of cooperation between museum and universities.

The collection of Aurora Museum can be divided into Buddhist Sculptures, Ancient Jade, Ancient Pottery Figures, and Blueand-White Porcelains. The collection also includes permanent exhibitions and special exhibitions. The museum also set up the research center of study of ancient artifacts, which fully demonstrates the achievements of ancient Chinese culture and art, while analyzes the collections from the perspective of ancient artifacts and reveals the cultural connotations of historical relics to audience from multi-angle and multi-lateral aspects.

秉承“保护 · 传承 · 奉献”的理念，专注于传扬中 华传统文化的同时，进行一系列当代艺术领域的尝 试，包括：“宝格丽 — 125 年意大利经典设计艺 术展”、“邱志杰：独角兽与龙 — 威尼斯双年展”、 “蜕变的舞步 — 郭衷忠 n+n Corsino 新媒体艺术 展”、2014 年上海双年展平行展“在创造 — 当 代艺术在震旦”、2015 年“画影之间 — 张恩利

× 杜可风”、2016 年“时间之光 — 胡介鸣 · 记 忆的拼图”等项目。

Adhering to Chinese culture of "protection, inheritance, and dedication", the museum not only promotes traditional Chinese culture, but exploring the areas of contemporary art. Through out the years, Aurora Museum has hosted many contemporary art exhibitions such as BVLGARI at Aurora Museum: 125 Years of Italian Magnificence, Qiu Zhijie: The Unicorn and the Dragon, Signs, Surface and the Instant: An Encounter by n + n Corsino and Aurora Museum, The Making of A Museum: 10th Shanghai Biennale (2014–2015), Nobody Knows Where: Zhang Enli × Christopher Doyle and Lights of Time: Solo Exhibition of Hu Jieming.

2018 年，震旦博物馆迈向第五周年，开展历史文 物更多维度的交会与对话。震旦博物馆展出中的 “玉见设计 — 中国古玉形纹设计特展”，从现代 的“设计思考”切入，剖析中国古代玉器工匠的智 慧，从传统提取文创设计的养分 ; 特展“仙人的树 林 — 邬建安 × 汪天稳”，尝试在传统与当代艺 术的对话中，加入非遗传承的元素，体现更丰富 多元的对话与视野。“古往今来 — 李真个展”， 则通过当代雕塑创作与古代佛教造像的古今对话， 开启一项跨越时空的展览。

186—187

Towards the fifth year, Aurora Museum carried out more dimensional dialogues in 2018. Chinese Jade Pattern Design Exhibition analyzed the ancient Chinese jade carving through the systematic idea of design thinking. In the Mythical Forest: Wu Jian’an and Wang Tianwen blended the ancient mythology, the historical relics and intangible cultural heritage with the contemporary art, showing a lively energy behind the tradition. Through the Ages — Li Chen Solo Exhibition attempts to build a dialogue between Li Chen’s artworks and the ancient Buddhist Statues of the collection of Aurora Museum, leading viewers to experience an exhibition beyond the time and space.

古往今来 Through the Ages

《天阙轻舟》展于由安藤忠雄先生设计的空间中

Floating Heavenly Palace in space designed by Mr. Tadao Ando

188—189

古往今来 Through the Ages

Pu-Tuo Mountain 普陀山

190—191

C h e n

李 真

L i

Concealed underneath Cosmos, Solitary about Earth

幂处不知天，空寂不着地～

“青烟” （局部） Ethereal Cloud (Detail) 古往今来 Through the Ages

Concealed underneath Cosmos, Solitary about Earth

幂处不知天，空寂不着地～

古往今来 Through the Ages