Bronze sculpture Edition: 1/6

330 × 293 × 200 cm. 129 7/8 × 115 3/8 × 78 3/4 in.

Signed in Chinese on the bottom backside of the figure; dated on the bottom backside of hind leg; incised with an artist's stamp, signed in English and numbered on the end of dragon's tail

LITERATURE (different sized edition)
2004, 1992-2002 Li Chen Sculpture, Asia Arts Center, Taipei, p.82-83
2007, Li Chen: Energy of Emptiness – 52nd International Art Exhibition – La Biennale di Venezia, Asia Art Center, Taipei, p.118-119, p.121-127, p.129 and p.219
2008, Li Chen: In Search of Spiritual Space – Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, p.50-57, p.171, p.173-176, p.197 and back cover
2010, Li Chen: Mind．Body．Spirit, Singapore Art Museum, Singapore, p.57, p.66, p.94-103, p.183
2012, Greatness of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, p.9, p.28, p.57-58, p.78-79, p.133 and p.160-161
2014, Monumental Levity of Li Chen: Premiere Sculpture Exhibition Place Vendôme, Asia Art Center, Taipei, p.67, p.78, p.82-83, p.153
2018, United Daily News, United Daily News Corporation, Taipei, front page
2019, Through the Ages – Li Chen, Asia Art Center, Taipei, p. 8-9
EXHIBITED (different sized edition)
8 Jun – 21 Nov 2007, Li Chen: Energy of Emptiness – 52nd International Art Exhibition – La Biennale di Venezia, Venice
29 Apr – 11 May 2008, Li Chen: In Search of Spiritual Space, National Art Museum of China, Beijing
17 Sep – 9 Dec 2009, Li Chen: Mind．Body．Spirit, Singapore Art Museum, Singapore
6 Nov – 4 Dec 2011, Greatness of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Chiang Kai-Shek Memorial Hall, Taipei
2 – 29 Sep 2013, Li Chen's 2013 Large-Scale Sculpture Exhibition at Paris Vanden Plaza, Vendome Square, Paris

PROVENANCE
Asia Art Center, Taipei
Acquired directly by present important Asian collector from the above

This work is accompanied by a certificate of authenticity issued by Asia Art Center, Taipei


Worshiping To the Monumental,Towering in the Universe
The Largest Dragon-Riding Buddha by Li Chen Ever Shown in Auction

Li Chen grew up in a traditional cultural background. He learned to make traditional Buddha statues, and read many classics of Confucianism, Buddhism, and Taoism. At the same time, he was exposed to the modern Western sculpture system. He was also interested in the primitive art of Africa and Oceania. After absorbing and transforming all of this, he developed a personal style that is compatible with the East and the West, with a modern aesthetic appearance and spiritual introversion. Since the debut of Energy of Emptiness in 1998, Li has gradually established his artistic language. He absorbed the essence of traditional Buddha statues to create full and soft lines to shape the face and a sculptural figure that appears to have levity in this monumental figure. He also infused his works with image and philosophical thinking extracted from thousands of years of history and culture. Under such creation direction, the Dragon-Riding Buddha, opening work of the Spiritual Journey Through the Great series (2001), can be described as a successful mix of the classical and modern, and objects and spirits, representing a monumental masterpiece of Li's artistic aesthetics. The work is regarded as the pinnacle of Li's artistic achievements and has repeatedly appeared on the international stage.
This season, China Guardian Hong Kong is honored to present the 330cm-high, great work Dragon-Riding Buddha for the first time in auction history, a demonstration of the lofty realm of “admiration of the noble character”.

Towards the International Stage: The Greatest Masterpiece of Li Chen in Auction History

As an extension of Avalokitesvara in the Energy of Emptiness series (1998-2000), Dragon-Riding Buddha completed in 2001 is an important beginning for the Spiritual Journey through the Great Ether Series. Dragon-Riding Buddha lays an important foundation for the full blooming of Li's artistic path. The work has been polished and recreated in four sizes, constantly enlarging the connotation of atmosphere and energy in Dragon-Riding Buddha, and proving to the world the powerful creative energy of Chinese artists ascending to the world. With a height of 330cm, the Dragon-Riding Buddha is the highest lot in auction history, and it is also the second-largest sized work of Li's Dragon-Riding Buddha. The third-largest, a 248cm-high sculpture, was sold for 11,190,000 HKD in 2019 at China Guardian Hong Kong Autumn Auction, which became a trending topic. This time, this great masterpiece shows us its unique debut in the art market, ready for its great attraction in auction.

Black Lacquer, Shimmering Lights: Forging the Oriental Aesthetics

In Li's studio garden, there are only three of his creations. Dragon-Riding Buddha is placed in the centre. It is the object of the artist's frequent meditation, which shows the great importance and affection attached to this work. The most intuitive visual shock and the quiet and far-reaching connection of thoughts are the results of the artist's meticulous creation of the atmospheric appearance of the work.

This 330 cm work clearly shows the peak of Li's skill in mastering large-scale bronze sculptures and ink color materials. When creating large-scale sculptures, Li often uses a large wooden frame to construct the outline, then puts on clay, and continues to polish them into an arc shape until their surfaces become smooth. In this process, he uses superb statue forging techniques to ensure a smooth curve by moving back and forth before performing cumbersome processes such as copper casting and painting. He also cleverly uses traditional ink-color lacquer to blend the black, gray, and white colors of the oriental aesthetics with the gloss of the sculpture. On the surface of the bronze, the frosted-like black lacquer is used to reflect the richness of the black color in different perspectives, creating a natural effect of aura and sparkle. The selection of media materials, the treatment of the arcs on the surface, and the contrast expression of texture and color all create different visual stimuli, which is reminiscent of the sculptural charm of mirror reflection of the well-known American artist Jeff Koons' Balloon Dog. Li creates a sense of lightness through form and space, transforms the spirit, and reflects inner agility and perfection.

From Mind to Form, the Modern Ideology Shines through the Ages

“In the Tang Dynasty, Buddhist sculptures were round and complete. For me, the plumpness of sculptures represents tolerance and diversity, and is full of the richness of the world.”
——Li Chen

Li began to make traditional Buddha sculptures for temples in the early 1980s. Also inspired by folk art, he accumulated rich experience in sculptures, which became an important source of his future creations. Dragon-Riding Buddha adapts the standards of Northern Dynasty statues, but does not retain the exquisite and slender human form, but makes breakthroughs in shape and form. On the upper side, the big Buddha spreads his arms in an embracing pose. The lines are full of flexibility and tension. The monk robe and the body are integrated. Abundance and expansion to the fullest capacity present the shape of a master that encompasses the world. While the original solemn face of the Buddha image gives people kind and amiable feeling, as innocent as a boy, and as calm as a wise man.

While injected with personal style and sculptural skills, the work also presents contemporary translations of Buddhist ideas and folk culture. The theme of the work depicts the “Guanyin on the Dragon”, which comes from the traditional folk chanting the allusion of the goddess of mercy who rides on the dragon and summons rain. Legend has it that the Guanyin's mount is the son of the dragon king, “Hǒu”, who has mighty power and can subdue all illnesses and sufferings.

Li has made the legend into a contemporary artistic expression: the Buddha holds a sacred bottle on his left and mudra on the right. The Buddha stands with his arms stretched open, conveying the noble ideals of tolerance and harmony. The dragon underneath seems to be incarnated from an ancient bronze cauldron. Its back is as smooth as the black tortoiseshell. The dragon tail is inlaid with a lot of round nails. Under its feet are various auspicious objects: a pearl, a lotus flower, a cloud, and a flame. The integrated structure of the upper and lower parts makes the Buddha's and dragon's grounded strength to form a harmonious and majestic supreme charm, and also conveys a new spirit of freedom in the austere and simple taste.

Monumental Levity: The Artistic Philosophy Full of Vibe

In addition to the prominent aesthetic thoughts on the form, the work finds exquisite expressions that integrate contemporary art forms in the broad oriental heritage. The thoughts of Confucianism, Taoism, and Buddhism run through Dragon-Riding Buddha. Its appearance is about the harmony of Buddhism, tracing Mencius's innocent heart. Inside, it is built with the Taoist qi. In terms of the special tension, there is a balance between inner and outer, and virtual and real.

The 330 cm Buddha is vigorous. Its pride directly hits people's hearts with immeasurable power and pressure. The Buddha who is placed in the context of riding a dragon seems to be floating around the air. When the viewers see the translucent spirit of the Buddha from its external form, they can have a better perception of the idea behind the sculpture. It is precisely the spiritual nature of “the unobstructed lightness in the heart” that contrasts with the grand and steady volume of the Buddha.

The work shows the invisible and intangible form of the energy of emptiness in a sensible and appreciable sculptural vocabulary. Also, it shapes the spiritual thoughts beyond nature to a determined mental philosophy. While the sculpture inspires the viewers to interpret the spirituality of the work, the viewers can feel its unparalleled charm throughout the ages.

Price estimate:
HKD: 5,600,000 – 12,000,000
USD: 722,100 – 1,547,400

Auction Result:
HKD: 17,975,000