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Neither Increasing nor Decreasing – Qi Ji

01.1539
Twenty-four armed Avalokiteshvara 二十四臂观音像

Qi Ji 祁吉

Artist Biography

Assistant of Design College, Nanjing University of The Arts
Born in 1990, Qi Ji graduated from the Decoration Department at Brera Academy of Fine Arts in Milan with a MA in 2017.
“The theme of Qi Ji‘s work claimed a scale of semantic values of reference where tools, ancient techniques, facts, circumstances and ancient writings belonging to different eras were recalled through a parallelism between the ancient and contemporary world.

From the symbolic and ancient Chinese writing, Qi Ji moved on to the complex and arduous story of its dissemination in the contemporary world, in which he wanted to highlight the value but also the risk of the latent loss of much historical information, mostly due to the lack of transmission of memory and a problematic preservation of ancient Chinese monuments.

Qi Ji has acquired a high degree of awareness of the artistic subject, both in the use of materials and in the expressive poetics he uses. Qi Ji also demonstrates a great aptitude for the preliminary study of his objects, which he always makes with great skill and technical expertise.”

Prof. Sergio Nannicola 
Senior lecturer in Decoration at the Brera Academy of Fine Arts, Milan

南京艺术学院设计学院助教
祁吉生于1990年,2017年毕业于米兰布雷拉美术学院装饰系,获硕士学位。“祁吉作品所涉及的主题主张一定范围的参考语义价值,其中通过古代与当代世界的平行回忆了属于不同时代的工具、古代技术、事件、环境和古代著作。由中国古代的象征性符号出发,祁吉转向了他在当代世界中所披露的繁复而艰难的叙述,在这个故事中,他希望能够凸显出出许多历史信息潜在损失的价值和潜在风险,而这主要是由于缺乏记忆和古代古迹的保护问题。祁吉对艺术学科有了高度的认识,无论是在陶瓷材料的使用上还是在他所应用的富有表现力的诗学中。此外,祁吉也展示出对其使用高超技巧和技术专长创造出来的艺术对象的探索的极大天赋。”Sergio Nannicola教授
米兰布雷拉美术学院装饰系主任

Artist Statement

The work is a complete reproduction of a shattered concrete bearing slab in ruins, using a new reproduction technique. The surface of the work uses slip to simulate the traditional plaster-squeezing and gilding technique, inspired by the image of Maheśvara‘the embodiment of destruction’ in a Ming Dynasty mural at the Fahai Temple in Beijing.

It claimed a scale of semantic values of reference where tools, ancient techniques, facts, circumstances and ancient writings belonging to different eras were recalled through a parallelism between the ancient and contemporary world.

作品使用一种新式复制技术完整复刻出一片废墟中的水泥承重板。
表面使用泥浆模拟传统的沥粉堆金工艺,其灵感来源自北京法海寺明代壁画中大自在天的形象。
作品本身作为一个语义参考价值的尺度,其中属于不同时代的工具、古代技术、事实、环境和古代著作通过古代和当代世界的平行关系被构建起来。

Selected Buddhist Object from Chiddingstone Castle

01.1539 Twenty-four armed Avalokiteshvara

Twenty-four armed Avalokiteshvara, bodhisattva of compassion, seated in dhyanasana (meditation posture), with his main pair of hands in anjalimudrā (prayer gesture). His elongated uppermost hands hold a seated Buddha. Sino-Tibetan, 17th – 18th century.


Height: 46cm, Length: 25cm, Width: 12cm

This gilt bronze statue depicts the many-armed form of the bodhisattva (enlightened being) of compassion, Avalokiteshvara. Bodhisattvas are believed to be beings who have achieved enlightenment and have dedicated themselves to helping others do the same. Avalokiteshvara is one of the most widely worshipped bodhisattvas. In China he is often depicted in his female form – the goddess of mercy Guanyin. One common explanation for Avalokiteshvara’s many arms is that they enable him to save all living beings from suffering. In each hand he holds a symbol associated with Buddhist beliefs and teachings. These include a miniature palace symbolizing the life of luxury that the Buddha left behind in his quest for enlightenment.

When the sun rises, our love lasts forever-1

当当太阳升起的时候,我们的爱地久天长

370x200x50mm
Porcelain, Glaze, Colored slip, Gold leaf
1250℃ Oxidation
2020

370*200*50mm
瓷,金属釉,化妆土,金箔
2020