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Neither Increasing nor Decreasing – Lu Bin

01.1590
Stupa佛塔

Lu Bin 陆斌

Artist Biography

LU Bin, born in Beijing in 1961, graduated from the Craft Art Department of Nanjing University of the Arts (NUA) in 1988. Professor in the Design School of NUA. IAC member.

“LU Bin’s sculptural strategy is to ask questions as it is to offer answers or connections. His work is the result of finding. Clearly, it is an exceptional example of making as intelligence. Artists make things to understand, to analyze, to study, to discover. LU Bin’s ceramic sculptures are manifestations of his keen ability to intuit a reflection of the moment – the Chinese moment, the Chinese now. LU Bin’s work probes. It structures uncertainty. His work charts seemingly different courses but at its center LU Bin’s sculpture is all a dissertation on the ancient context of mankind, as gravity, as earth, landscape, architecture – as time honored place, With fired clay as his foil, he introduces us to elements of life in the present…

“LU Bin’s sculpture reflects life experiences. It is made in unity with the philosophy by which his life is lived. Changing and dynamic, it is refreshingly free of formula. It is work purely driven by necessity. It is making as intelligence. LU Bin is a vital force – a critical voice in the unfolding of a new Chinese ceramic art…”

(USA) Wayne Higby, ceramic artist, IAC Vice President

1988年毕业于南京艺术学院工艺美术系。1998年建立深圳雕塑院陶艺工作室。现为南京艺术学院设计学院教授、联合国教科文组织陶艺协会会员 ( IAC ) 、中国美术家协会会员,

“陆斌的陶瓷雕塑的策略是尽可能多地提出问题,回答它或找到联想、隐喻的事物。很明显这是一个很特殊的用智慧来创作的例子,艺术家用创作来理解、分析、研究及发现。陆斌的陶瓷雕塑显示着他对中国现状敏锐的直觉及反应,他的作品表面上描述的是事物的不同过程,但实际上他关注的中心是关于人类古老事物的描述,用时代赋予的特色,重新描写地球、风景、建筑、日常生活,用烧过的陶土把现代的都市景象重新展现在我们的面前。……

“陆斌的陶瓷雕塑反映了他的生活经历,它与陆斌的人生哲学是统一的,变化同敏感,不受任何程式的限制。他作品的动力完全是出自身的必然,他用智慧去创作,陆斌是一支充满活力的力量——一个提示中国当代陶艺的重要声音。……”
【美国】温·黑格比,美国著名陶艺家、Alfred大学教授、联合国教科文组织陶艺协会副主席

Artist Statement

Lu Bin’s disintegrating oracle bones evokes his concerns for a society that appears to have forgotten its origins. Echoing Marx, Lu Bin understands the impossibility of human beings changing their world into a more human world, and the self-preserving inertia of the world they are trying to change. Human life, the source of all meaning, and free consciousness encounters the sheer weight of socio-political circumstances that not only resist this freedom but threatens to turn human actions into inhuman results. Hence the artist’s recourse to the Compassion Mantra. In Buddhism, compassion is a natural extension of understanding and wisdom. According to Buddha, if you light a lamp for somebody, it will also brighten your path.
 
[1] Marx, Karl. The Eighteenth Brumaire of Louis Bonaparte. Chicago: Charles H. Kerr, 1907.

Wendy Gers (French)

陆斌的《大悲咒》作品是他对这个似乎忘记自己文化起源的社会的担忧。陆斌与马克思的观点相呼应,理解人类不可能将世界变成一个更人性化的社会,人类生活所有的意义和自由意识在面对社会政治环境的力量时,也没有办法改变这个世界自我保护的本性⑴。这种环境不仅要抵抗这种自由意识,还会将人类活动变成不人道的行为。因此,艺术家是慈悲之源。在佛教,怜悯之心是理解和智慧的自然延伸。在佛教中,同情心是理解和智慧的自然延伸。佛陀说,如果您为某人点亮一盏灯,它也会照亮您的道路。
                                            温蒂.葛尔丝(法国)
⑴      卡尔·马克思《路易·波拿巴的雾月十八日》载于1852年在纽约出版的《革命》杂志第1期

Selected Buddhist Object from Chiddingstone Castle

01.1590 Stupa

Stupa (monument which holds relics of the Buddha), gilt bronze containing a painted image of the Buddha. Tibet, 18th century.

Height: 17.5cm, Width: 11cm

A stupa is a monument or container for relics of the Buddha. After the Buddha Shakyamuni’s death in ancient India, his body was cremated, and the remains were divided up amongst his followers and interred in large stupas. Buddhist practitioners walk around stupas, which are sacred sites, as part of their meditation practice. Sponsoring the creation of a small stupa is believed to bring good karma. This elaborately carved and gilded stupa contains a tiny painted image of the Buddha. It may also contain a relic or sacred materials. It would have been donated as an offering to a temple or placed on a shrine in the home.

Great Mercy Mantra-1

大悲咒-1

Earthenware& Porcelain
Oxidation Fired to 1200℃
100×45×45cm
2010

陶\瓷
氧化烧成1200℃
尺寸:100×45×45cm
2010