View To Scale
View In Room
View To Scale
View In Room
Chinese ink on rice paper
Dimensions: 66cm (H) x 100.5cm (W) x 2.5cm (D) / 26" (H) x 39.6" (W) x 1" (D)
Note: Actual colours may vary due to photography & computer settings.
Exhibited: "Enriching Steles: Ink Art by Lee Chun-yi", Alisan Fine Arts, Hong Kong, 2019; Published: "Enriching Steles: Ink Art by Lee Chun-yi", Alisan Fine Arts, Hong Kong, 2019, P.56
The Bodhisattva Avalokitesvara, while practicing the profound prajnaparamita, clearly saw that all five skandhas are empty, thus overcoming all suffering. Sariputra, form is no different from empty, empty no different from form, form is just empty, empty just form, sensation, perception, volition and consciousness are also like this. Sariputra, this is the emptiness of all dharmas: they neither arise nor cease, are neither defiled nor pure, neither increase nor decrease. For this reason within emptiness there is no form, no sensation, perception, volition or consciousness; no eye, ear, nose, tongue, body or mind; no sight, sound, scent, taste, touch or thought; no seeing,…even no thinking; no ignorance nor end of ignorance,…even no aging and death, nor end of aging and death; no suffering, origin, cessation or path; no wisdom and no attainment.
Because nothing is attained,bodhisattvas maintain prajnaparamita, then their heart is without hindrance, and since without hindrance, without fear; escaping upside-down, dream-like thinking, and completely realizing nirvana. All buddhas of all times maintain prajnaparamita, thus attaining anuttara-samyak-sambodhi. Hence know, prajnaparamita is the all-powerful mantra, the great enlightening mantra, the unexcelled mantra, the unequaled mantra, able to dispel all suffering. This is true, not false. Therefore proclaim the prajnaparamita mantra. Recite the mantra thus: Gate gate paragate parasamgate bodhi svaha!
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Hometown: Kaohsiung, Taiwan
Based in: Kaohsiung
The cosmopolitan diaspora artist Lee Chun-yi (born Taiwan, 1965) moved to Hong Kong as a youth, pursued graduate studies in the United States, and returned to Taiwan to embark on an artistic career. With a revolutionary method departing from the conventional use of a paintbrush, Lee Chun-Yi employs calligraphy through the use of Chinese seals and ink rubbings. He carves Chinese characters into pieces of soft wood to form chops, then stamps them repetitively on the paper to form a semi-photographic image. Literally building up a visual composition through words, his paintings function as symbolic poems, with the strength of the stamp indicating the intended tone of expression.
Lee has participated in over 30 group and solo exhibitions internationally. His works have been collected by the Ashmolean Museum of Oxford University, the Arthur M. Sackler Museum of Harvard University, the Asian Art Museum of San Francisco, the Phoenix Art Museum, USA; the Jiangsu Art Museum, the Qingdao Art Museum, China; the National Arts Education Institute, Taipei; the Hong Kong Museum of Art, and other public and private collections.
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