Lao Lianben Sold at Auction Prices

b. 1948 -

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            • Lao Lianben (b. 1948) - Homage To Joya
              Nov. 30, 2024

              Lao Lianben (b. 1948) - Homage To Joya

              Est: ₱5,000,000 - ₱6,500,000

              PROPERTY FROM THE DR. LEOVINO MA. GARCIA COLLECTION Homage To Joya signed (lower left and verso) and dated 1981 (verso) collage, acrylic on canvas 72" x 36" (183 cm x 91 cm PROVENANCE: Private collection, Manila Acquired directly from the artitst EXHIBITED: Leon Gallery, Passion and Compassion: The Lao Lianben Collection of Dr. Leovino Ma. Garcia, Corinthian Plaza, Makati City, 19 March - 3 April 2024 Lao Lianben’s Homage to Joya is, as the title suggests, a tribute to Lao’s profound reverence for the pioneer of Filipino abstract expressionism and one of his most influential luminaries. Both drawing on Orientalism, Joya’s and Lao’s oeuvres couldn’t be further from each and yet, Homage to Joya manages to blend Lao’s Buddhist inspirations and Joya’s Oriental sensibilities. Portraying a vertical column with elements that feel most at home at a Joya abstraction, the touch of Lao presents itself in the ensō which is a common theme in his oeuvre. This circle drawn in a single, uninterrupted stroke may or may not be unbroken and represents enlightenment and the Zen state of mind which emphasizes mindfulness and intentionality in everything one does. Simple yet grand, dynamic yet restrained. Lao Lianben's work is a master class of balance and inhibition, a clear adherence to Zen Buddhism’s tenet of the kanso, meaning simplicity. He elevates minimalism by extracting the essence of experiences, ideas, and emotions and delineating it into an abstraction that taps into the consciousness of the human soul. At the core of Lao’s visual language is stillness, a sense of simplicity that comes with a quiet and intense understanding of things both seen and unseen. (Hannah

              Leon Gallery
            • Lao Lianben (b. 1948) - Listen to the Stone
              Nov. 30, 2024

              Lao Lianben (b. 1948) - Listen to the Stone

              Est: ₱1,800,000 - ₱2,340,000

              Listen to the Stone signed (lower left) dated 2015 acrylic on canvas PROVENANCE: Acquired directly from the artist Lao Lianben’s fascination with the tranquility of Zen Buddhism bleeds into his minimalist oeuvre. Captivated by the silence and meditation the religion practices, Lao’s works invite introspection as he basks in the quietude his pieces evoke. “Zen Buddhism principles, practices, and mysticism have always fascinated me,” said Lao in a 2023 interview with Lifestyle Inquirer. “When I observe monks in their daily way of life, they allow me to imagine and create stories in my head. My eyes enable me to form ideas and come up with motifs for my paintings.” This contemplative nature is evident in this 2015 Listen to the Stone. Depicting a row of nine stones lined up on top of an elevated plank, Lao experiments with textures as he portrays vertical lines akin to a pouring rain. Zen Buddhism, by virtue, is more than just meditation and contemplation— all manner of activities are considered practices for Zen discipline, aimed at focusing the mind to work towards spiritual awakening. As such, even landscape gardening could be a Zen practice in which the layout of one’s garden corresponds to a Buddhist tenet. In this practice, rock and its position hold great importance, as large rocks symbolize stability, strength, and endurance, with the mindful way they are lined up representing vigilance and contemplation. To listen to the stones, as the title suggests, means to embody “compassionate listening” – mere listening is not enough, for one must listen without judgment. Lao invites his viewers to dwell in deliberate silence and listen without preconceived biases. Listen to the Stone shows a core tenet of a Lao piece – and indeed, of Buddhism – which is to listen compassionately. They must earnestly take a path toward unbridled contemplation, the austerity of Zen with which one must live their lives. (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948) - Untitled I-III
              Sep. 14, 2024

              Lao Lianben (b. 1948) - Untitled I-III

              Est: ₱1,100,000 - ₱1,300,000

              Lao Lianben (b. 1948) Each signed and undated (lower left) Mixed media 35.5 x 25 cm (14 x 10 in) each

              Salcedo Auctions
            • Lao Lianben (b. 1948) - Untitled
              Sep. 14, 2024

              Lao Lianben (b. 1948) - Untitled

              Est: ₱110,000 - ₱140,000

              Lao Lianben (b. 1948) Signed and dated '1982' (lower middle) Mixed media on paper 29 x 22 cm (11 1/2 x 8 3/4 in)

              Salcedo Auctions
            • Lao Lianben (b. 1948) - Untitled
              Sep. 14, 2024

              Lao Lianben (b. 1948) - Untitled

              Est: ₱110,000 - ₱140,000

              Lao Lianben (b. 1948) Signed and dated '1980' (lower left) Mixed media on paper 29 x 21.5 cm (11 1/2 x 8 1/2 in)

              Salcedo Auctions
            • Lao Lianben (b. 1948) - Balance
              Sep. 14, 2024

              Lao Lianben (b. 1948) - Balance

              Est: ₱7,000,000 - ₱9,100,000

              Balance signed (lower left and verso) dated 2020 and titled (verso) acrylic 48” x 72 1/2” (122 cm x 199 cm) WRITE UP I nexplicably, Lao Lianben’s works are deeply inspired by Zen Buddhism. “Zen Buddhism principles, practices, and mysticism have always fascinated me,” Lao said in a 2023 interview with Lifestyle Inquirer. “I do not practice Buddhism, but I am intrigued by it.” he enigmatic and impregnable Buddha looms large in Lao's oeuvre, whether he is depicted figuratively or not. It was his teaching that permeated Lao's canvas – from the mindfulness of his minimalist works to the meditation that his works espouse, it is clear where Lao derives his inspiration from. For his 2020 Balance, Lao took inspiration from the zen symbol of ensō. A hand-drawn circle, the ensō symbolizes absolute enlightenment, freedom, and emptiness. With Balance, Lao forgoes his usual minimalist style to experiment with textures. As he splits the canvas into quadrants, Lao assigns each area a different texture and colors, creating a more experiential canvas than his usual. At the center, drawn in a perfect unbroken sweep, is the ensō. The drawing of the ensō is as spiritual as it is physical. When one draws the symbol, one does not change it, regardless of the end result. It is evident of the artist’s character and the context of the ensō’s creation, so it is pertinent for the artist to practice the values of the Japanese wabi-sabi, or the acceptance of transience and imperfection. To appreciate a Lao piece is to appreciate the silence and meditation it is imbued in. The austerity of Zen is exalted in his oeuvre and Balance, as its name suggests, aims to strike the balance between mindfulness and enlightenment – letting the mind be free to produce a body of work that is at once simple and fundamentally complex. (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948) - a.) Enlightenment b.) Man of Few Words
              Sep. 14, 2024

              Lao Lianben (b. 1948) - a.) Enlightenment b.) Man of Few Words

              Est: ₱7,000,000 - ₱9,100,000

              a.) Enlightenment signed (rightside and verso) dated 2009 acrylic on canvas 87” x 31” (221 cm x 79 cm) b.) Man of Few Words signed (rightside and verso) dated 2009 acrylic on canvas 87” x 31” (221 cm x 79 cm) WRITE UP To appreciate the works of Lao Lianben is to bask and be comfortable in the silence. Deeply and creatively inspired by Zen Buddhism, the majority of his minimalist masterpieces are influenced by this deeply held fascination of his. From begging bowls to monks, the impregnable image of Buddha and his teachings often find their way into his works. His 2009 Enlightenment captures a central tenet of Buddhism. Named after the tenet mentioned above, enlightenment is a state of being inherent to all. Buddhism believes everyone is capable of realizing such a lofty status, should one be intentional in reaching that awakened state. In this work, Lao’s elongated canvas depicts the vague approximation of a human body, a wisp in the wind as the person recognizes their impurities and lets them go. In the same vein, his 2009 Man of Few Words follows Enlightenment’s minimalism. Using a similar rectangular canvas, the vague outline of a man is depicted, almost fading away into nothingness as Lao uses only the barest of paint to paint the man. Above his head is a faint circle, perhaps a halo or something else entirely. As its title suggests, the work says so little, making its viewers scramble to provide their own interpretations as one is wont to do when they face obstinate and prevailing silence. Lao’s works invite its viewers to meditate on its minimalism. Enlightenment is intuitive, the purifying effect of meditation evident as one views the person let go of their impurities; on the other hand, Man of Few Words portrays Lao’s mastery of utilizing the ebb and flow of tension with only little elements. There is a draw within both these works, pulling in viewers who are challenged to be comfortable in the silence long enough to hear whatever it is these works want to tell them. Viewing Lao’s works means utilizing all of one’s senses to appreciate it fully. As professor and Lao collector Leovino Ma. Garcia writes for Black Water: A Monk’s Dream, “Be drawn into a silence that speaks of compassion and joy. Like the empty bowl of a Buddhist monk, his paintings here, in their bare simplicity, offer an inexhaustible feast for thought.” “In Lao’s paintings, discreet silence turns eloquent. His paintings speak to you, but only after you approach them in silence,” a Lao exhibition catalog writes. “To truly appreciate Lao’s silence then, one has to be blessed with the patience to pay attention for a long time and the perseverance to listen for even a longer time. Only then, perhaps, can one finally hear the paintings imploring you: ‘You must change your life!’” (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Jul. 27, 2024

              Lao Lianben (b. 1948)

              Est: ₱100,000 - ₱130,000

              Zen Cloud signed (lower left) acrylic on canvas 9 3/4" x 7 1/4" (25 cm x 18 cm)

              Leon Gallery
            • Lao Lianben (b. 1948) - Monk
              Jun. 08, 2024

              Lao Lianben (b. 1948) - Monk

              Est: ₱16,000,000 - ₱20,800,000

              Monk signed (lower left and verso), dated 2010 and titled (verso) acrylic 80" x 96" (203 cm x 244 cm) PROVENANCE: Acquired directly from the artist The sublime and the serene is evident in the works of Lao Lianben. A wellspring of Oriental inspiration, his monochromatic works derive from the philosophy of Zen Buddhism, its meditational quietude the driving force for his oeuvre. “I do not practice Buddhism, but I am intrigued by it,” he said in a 2023 Lifestyle Inquirer interview. “When I observe monks in their daily way of life, they allow me to imagine and create stories in my head. My eyes enable me to form ideas and come up with motifs for my paintings.” His 2010 Monk is as simple as it is intuitive. Monochromatic and minimalistic, Lao's carefully placed streaks create the image of the titular monk with their forehead pressed on the ground in meditation. His process of layering paint on canvas creates a ridge-like texture echoing the surface of rocks found in nature or perhaps the falling rain. The purifying effect of Zen is evident in Monk – water cleanses, allowing one to go into an interactive and transformative contemplation. “Be drawn into a silence that speaks of compassion and joy,” professor and Lao collector Leovino Ma. Garcia writes for Black Water: A Monk’s Dream. “Like the empty bowl of a Buddhist monk, his paintings here, in their bare simplicity, offer an inexhaustible feast for thought.” Herein lies the charm of Lao’s works – going against the grain of Filipino maximalism, his oeuvre whispers. His paintings speak to you but one must be silent to hear them and Lao rewards this silence with an evocative and introspective experience quite unique to the artist. (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948) - Untitled
              Jun. 08, 2024

              Lao Lianben (b. 1948) - Untitled

              Est: ₱7,000,000 - ₱9,100,000

              PROPERTY FROM THE DR. LEOVINO MA. GARCIA COLLECTION Untitled signed and dated 1981 (lower left) acrylic, rice paper on canvas 72" x 36" (183 cm x 92 cm) EXHIBITED: León Gallery, Passion and Compassion: The Lao Lianben Collection of Leovino Ma. Garcia, Makati City, March 19 - April 3, 2014 Lao’s Take on Gustav Klimt’s The Kiss One must be silent and contemplative to listen to the works of Lao Lianben. Infusing his works with the spirit and aesthetics of Zen, Lao brings out the meditative serenity that marks many of his oeuvres, a sense of silence and calmness that brought many art connoisseur to Lao. One of the most eminent of his collectors is Dr. Leovino Ma. Garcia. Dr. Garcia, aside from being the former dean of Ateneo de Manila School of Humanities and the professor-emeritus of philosophy at the same university, was also an ardent collector of Lao. Starting in 1991, the three-decade-long collecting culminated in the Passion and Compassion: The Lao Lianben Collection of Leovino Ma. Garcia, an exhibit at the Leon Gallery International and curated by Dr. Garcia himself featuring more than 20 of Lao’s works. Among these highly prized pieces in the lot in hand. This 1981 “Untitled” work portrays Lao’s meticulous process of painting. He superimposes layers upon layers of paint and images, creating a flow and ebb of tension from the piece. He isolates the subject, leaving the background blank to draw eyes straight on the strip at the center of the canvas. “When I am painting, I like to build up materials into several layers,” he said in a 2023 Inquirer interview. “I navigate through the painting to develop a certain look and let the medium interact with me—to talk as to speak—until it looks satisfying and complete.” This deep introspection – a key tenet of Zen Buddhism – is highly evident in the works of Lao. Passion and Compassion’s exhibition catalogs write: “In Lao’s paintings, discreet silence turns eloquent. His paintings speak to you, but only after you approach them in silence. It would help then if you stole into the exhibition room at an odd hour of the day.” It continues: “To truly appreciate Lao’s silence then, one has to be blessed with the patience to pay attention for a long time and the perseverance to listen for even a longer time. Only then, perhaps, can one finally hear the paintings (as in Rilke’s Archaic Torso of Apollo) imploring you: ‘You must change your life!'” (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948) - Untitled
              Jun. 08, 2024

              Lao Lianben (b. 1948) - Untitled

              Est: ₱1,000,000 - ₱1,300,000

              PROPERTY FROM THE COLLECTION OF MARK WILSON & ELSA DIVINAGRACIA Untitled signed and dated 1988 (lower left) mixed media on paper 42 1/2" x 30 3/4" (107 cm x 78 cm) Lao Lianben’s artistic practice is heavily influenced by Zen Buddhism’s tenet of ‘seeing clearly.’ “My art process is greatly informed by what I see,” said Lao in a 2023 interview with Lifestyle Inquirer, “and my ideas are developed more visually.” Indeed, his works are Zen personified – they are at their core contemplative, intuitive, and meditative. It is with this contemplative nature in mind that this untitled 1988 piece was born. Here, the viewer's eyes are drawn to the singular subject on the canvas: a large sweeping circle unbroken only at the end. The monochromatic figure is darker at its “head”, gradually losing ink as it reaches the tail end of the spiral. In Zen Buddhism, this sweeping circle is known as ensō. Translating to mean ‘circle,’ the ensō is fundamentally the simplest yet most complex shape to do. The sweeping motion leaves little room for experimentation, and yet the movement evokes a multitude of emotions. The ensō is meditation itself; to draw it is to submerge oneself in meditation and in turn, to witness it is a meditative practice in itself. An unclosed circle, drawing the ensō requires a moment when the mind is free to let the body simply create. Profound and deeply personal, an ensō, as the Zen Buddhists believe, is indicative of the character of the artist, baring the private in one fell swoop. To have a Lao work is to dwell on deliberate stillness. The common Filipino may be a maximalist at heart but Lao through his works invites us to do the opposite. He beckons us to bask in the silence and meditate on our thoughts. Dr. Leovino Ma. Garcia, the former dean of the Ateneo's School of Humanities and a Lao collector himself said: “Lao’s paintings expressed in images the insights I tried to promote in my philosophy classes — the ability to see with new eyes, to see as if for the first time.” The lot in hand encapsulates a core tenet of a Lao piece – to “see” as he sees is to look at the world with no presumptions or preconceived notions. Instead, one must be patient. They must in earnestness take a path toward unbridled contemplation, the austerity of Zen with which one must live their life. (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948) - Landscape
              Jun. 08, 2024

              Lao Lianben (b. 1948) - Landscape

              Est: ₱3,000,000 - ₱3,900,000

              Landscape signed and dated 1974 (lower right and verso) oil on wood panel 48 1/4" x 49 1/4" (123 cm x 125 cm) An early work by the now-revered abstractionist and Zen master Lao Lianben, Landscape shows the influences of Jose Joya, Fernando Zobel, Arturo Luz, and Florencio B. Concepcion, who all served as luminaries for the then 26-year-old Lao in creating this masterpiece. When Lao created this work, two years had passed since he obtained his Bachelor in Fine Arts from the University of the East in 1972. The following year, Lao debuted in the Philippine art scene through his first solo exhibition held at F. Sionil Jose’s Solidaridad Galleries along Padre Faura Street in Ermita. By the 1970s, Luz, Zobel, and Joya were three of Philippine abstraction’s most influential figures. Moreover, it was not impossible for Lao to escape the creative convictions of the said style, for during his college days at the University of the East, the institution’s Fine Arts department was helmed by none other than Florencio B. Concepcion, who had by then become known for his virtuoso in abstract expressionism. We see the influences of Joya in the geometric figures, which started to appear in the master’s canvas in the late 1960s when he transitioned from abstract expressionism to geometric expressionism inspired by Philippine folk motifs. Likewise, there are allusions to Luz’s linear and geometric abstraction and the kinetic quality of Concepcion’s abstract expressionist flair. Zobel’s influence is discerned in Lao’s handling of washed-out browns and blacks, hinting at the former’s El Jucar series of the early 1970s. Lao’s Landscape seemingly evokes a bas relief. There is a succinct description in the July 4, 1975 issue of the Philippines Daily Express of Lao’s early artistic style. The article states, “Lao Lian ben [sic], who does sculptured paintings on wood, has unmistakably a touch of Chinese calligraphy in his use of black in most of his works.” Even in Lao’s early works, there is a discernible aspect of Zen aesthetics, with the dominant circle serving as an allusion to the Japanese ensō. Depicting the ensō in one’s art is a dynamic meditation; rendering the ensō requires spirited spontaneity. In doing so, Lao bridges himself towards composure and the desire for an introspection that becomes transformative in the process. We see the artist journeying towards a sweeping panorama of the spirit, in which he frees himself from the corporeal and the mundane in order to progress into a state of tabula rasa—a pure, immaculate frame of mind. Moreover, Lao’s instinctiveness in this work sees him reveling in the vulnerability of his being, letting himself loose towards the emancipation of the subconscious. Landscape is palpable proof of Lao’s earliest ventures into the inner sanctuaries and vistas of the metaphysical, reflecting the artist’s never-ending contemplation towards a dynamic and cathartic peace and quiet. Two years after this work, the Cultural Center of the Philippines bestowed Lao Lianben with the prestigious Thirteen Artists Award. (Adrian Maranan)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Apr. 20, 2024

              Lao Lianben (b. 1948)

              Est: ₱20,000 - ₱26,000

              Untitled handsigned lithograph 5 1/2" x 5 1/4" (14 cm x 13 cm) each

              Leon Gallery
            • Lao Lianben (b. 1948) - Buddha
              Mar. 09, 2024

              Lao Lianben (b. 1948) - Buddha

              Est: ₱1,600,000 - ₱2,080,000

              Buddha signed (lower left) dated 2007 mixed media on burlap 22" x 20" (56 cm x 51 cm) Accompanied by a certificate issued by Blanc Gallery confirming the authenticity of this lot WRITE UP: Lao Lianben Discovering the Secret Buddha One is hard-pressed to describe a Lao Lianben piece without evoking its Zen Buddhist inspiration. Though not a practitioner himself, the impregnable image of Buddha provides a never-ending well of inspiration for Lao whose works embody the simplicity espoused by the religion. Siddhartha Gautama, most known as the Buddha, is a śramana (a wandering ascetic) and religious teacher who professes a life of mendicancy and meditation. This meditation is highlighted in his 2007 work aptly titled Buddha. In Buddha, Lao invites his viewers to revel in the quietude as Buddha immerses himself in his meditation. There are three main types of depictions of the Buddha images – first the sthānaka or the standing Buddha, the sayana the reclining Buddha, and the āsana or the seated Buddha. Lao’s Buddha imitates the latter form, with his hands resting palm upward on his lap in dhyāna mudrā. Among the teachings of Buddha is the Satipatthāna Sutta (and the subsequent Mahāsatipatthāna Sutta), the foundation of the contemporary Buddhist meditation practice. To meditate, one must focus on their body (kāyā), contemplating on their consciousness (cittā) and the teachings (dhammas) as they do so. Here, Lao puts into the forefront the very essence of his works: introspection. In a fast-paced world where slowing down means possibly missing out on a multitude of things, meditation is a daunting task. Yet, Lao puts a premium on contemplation, encouraging his viewers to see for themselves the gateway to spiritual enlightenment brought about by deep deliberation and purposeful meditation. As written by Bodhidharma (founder of Zen Buddhism): “Not thinking about anything is Zen. Once you know this, walking, standing, sitting, or lying down, everything you do is Zen … Freeing oneself from words is liberation.” Through Buddha, Lao reminds us that amidst the hustle and bustle one experiences daily, they must immerse themselves in meditation and quietude, taking on the winding path toward enlightenment. (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948) - Thinking of Zen
              Mar. 09, 2024

              Lao Lianben (b. 1948) - Thinking of Zen

              Est: ₱3,400,000 - ₱4,420,000

              Thinking of Zen signed and dated 1994 (lower left) acrylic, modeling paste, pencil on burlap 40" x 60" (102 cm x 152 cm) PROVENANCE: Private collection, Manila WRITE UP: For Lao Lianben, painting is an invigorating exercise centering on creative solitude and dynamic contemplation. Profoundly influenced by the tenets of Zen Buddhism, Lao’s creative praxis revolves around painting as an act of both seeing and contemplating; it is Zen encountered, experienced, lived, and nourished. It is in this sustained practice of living and creating under the influence of Zen that Lao’s 1994 work titled Thinking of Zen can be contextualized. Here, we are immediately struck by a captivating image of the circle in the center, delicately engraved in an almost perfect manner. In Zen Buddhism, the circle or the ensō is the supreme symbol of enlightenment. Traditionally, drawing the ensō requires spontaneity, and its creation involves the utmost freeing of the mind from any inhibitions, ultimately allowing the hands (and the entirety of the body) to be liberated from tension. A clear mind calmly yet fervidly situates itself in the arena of the present, reveling in expressive composure. Depicting the ensō is meditation in itself, for it manifests our innermost being, emancipating all our repressed thoughts and emotions. In Lao’s Thinking of Zen, the artist appropriates the ensō and renders it in an almost perfect manner (as opposed to its traditional depiction as an imperfect, open circle) as an implication of a human desire for perfection, as well as the ultimate knowledge and acceptance of the world as being inherently imbued in contradiction and struggle, and thus, the need for a dynamic meditation in which even the most mundane of activities become profound contemplation in themselves. Lao also employs grids in various areas of the composition. In cartography, grids determine the absolute location of a specific point on Earth using latitude and longitude. In doing so, Lao points out to a spiritual panorama of the psyche, in which his mind—and the artist himself— indulge in a captivating silence that becomes a revitalizing experience. Incisions that form delicate gradations resulting from Lao scratching the canvas with a pointed material evoke spontaneity, which in turn captures the artist letting the unbridled flow of his expressions gush from his inner being, “purifying” and “relieving” himself in the process in order for him to create such a masterpiece that becomes a balm for one’s being. These incisions also allude to a mind that straddles the boundaries between knowing and not knowing, learning and unlearning, strengths and flaws. Thus, we are transported back into the concept of the ensō, where the mind realizes the harmony of things and the body freely drinks and creates from the fountainhead of a realized peace and quiet. Lao’s Thinking of Zen encompasses an emancipating practice, a place of no inhibitions, of unbridled contemplation, towards a cathartic and transformative enlightenment. And as always, Lao shows us a disciplined spontaneity, distilling only the essential through an austere palette that overflows with an energy that is the spirit of soothing and empowering Zen. (Adrian Maranan)

              Leon Gallery
            • Lao Lianben (b. 1948) - a. ) Cloud Thinking 1 b. ) Cloud Thinking 2 c. ) Zen Cloud
              Mar. 09, 2024

              Lao Lianben (b. 1948) - a. ) Cloud Thinking 1 b. ) Cloud Thinking 2 c. ) Zen Cloud

              Est: ₱800,000 - ₱1,040,000

              PROPERTY FROM THE LEOVINO MA. GARCIA COLLECTION a. ) Cloud Thinking 1 b. ) Cloud Thinking 2 c. ) Zen Cloud a.) signed (lower right) dated 2004 (lower left) b.) signed (lower right) dated 2004 (lower left) c.) signed (lower left) acrylic, modelling paste on canvas each a.) 12" x 9" (30 cm x 23 cm) b.) 12" x 9" (30 cm x 23 cm) c.) 9" x 12" (23 cm x 30 cm) WRITE UP: Lao Lianben’s canvases bear veritable proof of his fascination with Zen Buddhism principles, practices, and mysticism. While not a practitioner, the qualities of the impregnable Buddha bleeds through his minimalist work resulting in an oeuvre that is stripped of superfluity that puts forth a solemn, serene sensibility in line with the artist’s Zen proclivities. His inclination towards Buddhism manifests itself in this series of works entitled Cloud Thinking 1 and 2 and Zen Cloud. The Buddhist tradition has been using clouds as a metaphor throughout the years – the sūtra entitled The Great Cloud described it as a harbinger of rain that contains the qualities needed to nourish its believers. Clouds are known for the lifesustaining rain they produce, however they are also known for their transience. With its monochromatic palette and unique manipulation of texture, Lao’s Cloud Thinking 1 and 2 and Zen Cloud encapsulate the ephemerality the clouds represent. With his mastery of minimalism and composition, Lao reinforces the beauty in quietude through the evocative questions posed in his modest canvases. (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948) - Presence
              Mar. 09, 2024

              Lao Lianben (b. 1948) - Presence

              Est: ₱2,000,000 - ₱2,600,000

              PROPERTY FROM THE DERRICK AND RIA SANTOS COLLECTION Presence signed and dated 1977 (bottom & verso) acrylic, pencil on marine plywood 37" x 39" (94 cm x 99 cm) WRITE UP: It is not uncommon for one to utilize a framework of Buddhism when trying to understand the works of Lao Lianben. Lao himself has stated in an interview that “Zen Buddhism principles, practices, and mysticism have always fascinated me. The image of Buddha is enigmatic— impregnable—quiet in form. I do not practice Buddhism, but I am intrigued by it. When I observe monks in their daily way of life, they allow me to imagine and create stories in my head. My eyes enable me to form ideas and come up with motifs for my paintings.” Thus, in relation to the direction of his practice, one can analyze this particular piece through a similar theory. Presence in Buddhist philosophy is closely tied to the fundamental teachings of mindfulness and awareness. The concept revolves around being fully engaged and attentive to the present moment, cultivating a deep awareness of one's thoughts, emotions, and surroundings. In the context of mindfulness meditation, practitioners aim to develop a heightened state of presence, often referred to as "sati" in Pali or "smrti" in Sanskrit. This concept is notably expounded in early Buddhist texts like the Satipatthāna Sutta, where the Buddha outlines the Four Foundations of Mindfulness as a means to cultivate profound presence. Additionally, the Zen tradition, with its emphasis on direct experience and meditation, places great importance on the experiential aspect of presence. The works of contemporary Buddhist scholars such as Thich Nhat Hanh, Jon Kabat-Zinn, and Bhikkhu Bodhi further explore and articulate the significance of presence in the context of mindfulness practices, bridging ancient wisdom with modern psychology. (Jed Daya)

              Leon Gallery
            • Lao Lianben (b. 1948) Herminigildo Tecson Danilo Garcia (1947 - 2015
              Jan. 20, 2024

              Lao Lianben (b. 1948) Herminigildo Tecson Danilo Garcia (1947 - 2015

              Est: ₱35,000 - ₱45,500

              Grupo Ocho signed and dated 1976 (upper,lower,bottom) acrylic and watercolor on paper 11" x 17" (28 cm x 43 cm)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Jan. 20, 2024

              Lao Lianben (b. 1948)

              Est: ₱40,000 - ₱52,000

              Untitled signed and dated 1976 (verso) pen and ink on paper 8 1/2" x 8 1/2" (22 cm x 22 cm)

              Leon Gallery
            • Lao Lianben (b. 1948) - Neurotic Zen Masters 6
              Dec. 02, 2023

              Lao Lianben (b. 1948) - Neurotic Zen Masters 6

              Est: ₱3,000,000 - ₱3,900,000

              Neurotic Zen Masters 6 signed and dated 1990 (lower left and verso) modelling paste, acrylic on wood & burlap 60" x 52" (152 cm x 132 cm) PROVENANCE: Finale Art File WRITE UPLao, with his fussily complex Zen inspired black and white meditations on “presences,” works in a minimalist vein. One calls “ephemeral” what is suspended between presence and absence, between the visible and invisible. Likewise, his work is generally characterized by layers of black paint modified by dark areas that are signifiers in themselves. Another element of his artistic discourse is the calligraphic line; also of Oriental origin. Often inspired by words, Lao finds himself translating their meaning onto canvas by transforming abstract concepts or ideas into his visual interpretations. There is actually so much more to Lao’s artwork than meets the eye, that a complete understanding of the painting’s concept almost necessitates a knowledge of the title. Sometimes it is a mere description such as in “Hands” or “Elements.” Which tells the viewer that the depths of Zen need not be taken too seriously. As always, his textured painting, wall sculpture as much as they are paintings, invite quiet contemplation. This time around, Lao’s “non-colors” of black and white allude to settings that keep to the minimalist aesthetic that this noted abstractionist has practically patented. Attributes of clarity and restraint make for the power of Neurotic Zen Master 6, the title notwithstanding

              Leon Gallery
            • Lao Lianben (b. 1948) - Substance
              Dec. 02, 2023

              Lao Lianben (b. 1948) - Substance

              Est: ₱450,000 - ₱585,000

              PROPERTY FROM THE LEOVINO MA. GARCIA COLLECTION Substance signed and dated 1995 (lower left and verso) acrylic, modeling paste on paper 20” x 14” (51 cm x 36 cm) PROVENANCE: Acquired directly from the artist WRITE UPAbstractionist Lao Lianben’s works often give off a sense of calm and quiet. He strips his art of any superfluity and gives a positive new definition to the word empty. His canvases, bare except for a central motif or a calligraphy brush stroke, evoke a silence often aligned to Zen Buddhism which is a central theme in his paintings. A student of fine arts, Lao recalls his teacher Florencio B. Concepcion and his impact on him as an artist. Concepcion constantly prodded his students to question why they are painting. “[It] challenged the core of [my] creativity and practice,” Lianben said in a 2023 interview with Lala Singian. “I believe that made the strongest impact on me as an artist. If I wanted to be a painter, then I should know why I am painting.” And indeed, throughout his career, Lianben is consistent and steadfast in his pursuit of excellence as an artist. The enigmatic, impregnable image of Buddha is a mainstay in Lianben’s repertoire. In every brushstroke, Lianben’s works espouse the Zen practices of emphasized self-restraint and silent selfcontemplation. This 1995 piece at hand entitled Substance is Lianben in his element. He utilizes minimal colors, using a soft brown to break up his usual shades of black and white. To create depth, he also layered different textures and softened the tensions to achieve an air of serenity. Substance is Lianben at his finest – showcasing his ability to communicate through stillness and evoke deep emotions in silence. (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948) - Untitled
              Dec. 02, 2023

              Lao Lianben (b. 1948) - Untitled

              Est: ₱180,000 - ₱234,000

              Untitled signed (on the back with dedication) mixed media 11” x 9” (28 cm x 23 cm) WRITE UPLao Lianben’s works are associated with a mediational quietude and refined aesthetic. Characterized by its gaping emptiness, Liaben is a leading figure in the Philippine nonrepresentative art scene and a master at making the solitude shine through his oeuvre. With the lot in hand, Lianben’s mastery in the monochromatic minimalism paintings that is evocative in their silence is on full display. As Leovino Ma. Garcia said, “Like the empty bowl of a Buddhist monk, Lao Lianben paintings, in their naked simplicity, are an endless feast for the mind.” (Hannah Valiente)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Oct. 21, 2023

              Lao Lianben (b. 1948)

              Est: ₱40,000 - ₱52,000

              Ancestral signed (lower left) dated 1986 (lower right) mixed media on paper 12 1/4” x 9 1/2” (31 cm x 24 cm)

              Leon Gallery
            • Lao Lianben (b. 1948) - Table with "One Stones"
              Sep. 09, 2023

              Lao Lianben (b. 1948) - Table with "One Stones"

              Est: ₱2,000,000 - ₱2,600,000

              Lao Lianben (b. 1948) Table with "One Stones" signed (lower left); signed, titled, and dated 2011 (verso) acrylic on canvas 20" x 30" (51 cm x 76 cm) The lot at hand, a Lao Lianben acrylic piece titled Table With “One Stones,” evokes a sense of the present moment, particularly one’s state during meditation. In Zen, meditative focus refers to the practice of directing one’s attention to a specific point of focus during meditation. The aim is to develop a heightened state of awareness, approaching these experiences with an open mind and without expectations. Lao’s painting can be viewed as what one sees when doing meditative focus. To achieve this, one must direct their attention to the stone and engage all senses in the experience. A sense of connection or closeness with the stone will ensue as one maintains focus. Then, one will be transported into a state of reflection and contemplation. As observed in the canvas, a stone sits alone on the table, although there seems to be more as the title indicates. Well, it can be assumed that Lao was seeing beyond what was visible, inviting the viewer to also look deep into the piece. To impart Zen’s essence, teachings, and the experience of enlightenment, its depictions in paintings are enriched with metaphorical significance. For this one, stones could be a symbol of stillness, stability, or the natural world. Similar to a stone that is solid and still, Zen beliefs and practices value being present and immersed in each moment. (Isabella Romarate)

              Leon Gallery
            • Lao Lianben (b. 1948) - Black Garden VI
              Sep. 09, 2023

              Lao Lianben (b. 1948) - Black Garden VI

              Est: ₱600,000 - ₱780,000

              Lao Lianben (b. 1948) Black Garden VI signed and dated 1981 (lower left) oil on paper 30" x 22" (76 cm x 56 cm) A sense of calm and wonderment is often felt at the sight of a Zen garden. The stylized landscape is unlike regular gardens, it is abundant with stones and rocks, finely raked in straight lines, wavy lines, or concentric circles, and although the aesthetic presence of flowers is rarely found, it is beautified by stacked stones, perhaps a shrub or a clump of moss, and sometimes water features. Albeit minimalistic in appearance, it exudes a profound and powerful ambience. This is because in Zen art, space is important, it is understood as a reflection of how the mind should be when in meditation. The art-related tenets of Zen are exhibited in Lao Lianben’s Black Garden VI. His depiction of a garden is in line with its principles of landscape gardening, particularly the simplicity of the design. As an artist whose art is associated with Zen, it can be observed that he rendered this piece done in oil on paper in a meditative state. His brushstrokes are evocative of the raked gravel or sand in Zen gardens, owing to his masterful skill in calligraphy. In Hitsuzendō or the “Zen way of the brush,” the brush writes a statement about the calligrapher at a moment in time, one chance to create with the brush. The stroke needed not to be perfect and proportioned as long as it was created with the purpose of becoming one with the characters. For that reason, it is also likely that Lao applied in this piece the ideals of wabi-sabi, a concept in Zen art and design that finds beauty in imperfection and impermanence. A reminder to rekindle or maintain our relationship with nature is perhaps the intention of Lao for the lot at hand, inviting us to ponder upon the philosophical aspect of a garden and to see it as more than a view to be admired. (Isabella Romarate)

              Leon Gallery
            • Lao Lianben (b. 1948) - White Matter
              Sep. 09, 2023

              Lao Lianben (b. 1948) - White Matter

              Est: ₱2,600,000 - ₱3,380,000

              Lao Lianben (b. 1948) White Matter signed and dated 1997 (lower left) acrylic, modeling, pastel, pencil on canvas 36" x 24" (91 cm x 61 cm) In human anatomy, the white matter regions of the central nervous system refer to those parts of the brain responsible for efficient brain signaling. According to MedlinePlus, the online health information service of the US National Library of Medicine, “white matter is found in the deeper tissues of the brain (subcortical). It contains nerve fibers (axons), which are extensions of nerve cells (neurons). Many of these nerve fibers are surrounded by a type of sheath or covering called myelin. Myelin gives the white matter its colors. It also protects the nerve fibers from injury. It improves the speed and transmission of electrical nerve signals along extensions of the nerve cells called axons.” In short, the brain’s white matter are “channels of communication” that ensure the quick yet proper transmittal and reception of information between different areas of the brain. In this work, Lao depicts the white matter as a waterfall-like structure. The artist derives inspiration from the scientific definition of white matter and reimagines and reinvents them in his soothing language of Zen. Lao’s unbridled pencil strokes, which evoke the nerve fibers, emanate from the acrylic modeling resembling the white matter. Here, the artist presents how a dynamic mind powerfully engages in profound With husband Toting (center), Manolo and Maritess Lopez in Paris during the Cory Aquino state visit © Katigbak Photo Archives In 2015, in the residence of the US Ambassador in Paris, Menchu (middle) with Washington Sycip (second from the right), Federico and Monina Lopez © Katigbak Photo Archives meditation. Akin to the white matter and the nerve fibers that enable our neurons to send and receive electrical and chemical signals for proper coordination of bodily functions, Lao presents how meditation inherently runs throughout our inner selves, ensuring a keen awareness and perception of the imperfections and contradictions of the mortal world. Lao shows how our decisions and determinations are borne from active introspection, the consummate realization of the balance and contrasts of all things, whether material or abstract, spiritual or corporal. Like a waterfall both gently and powerfully cascading down from a mountain, Lao manifests the unbridled flow of intrinsic calm borne from the meditation of the spirit; a meditation that is quiet in form yet dynamic in practice. The brain’s white matter and meditation both function in the same way: continuously establishing a sense of harmony and clarity. As the legendary founder of Zen Buddhism, Bodhidharma once said: “Not thinking about anything is Zen. Once you know this, walking, sitting, or lying down, everything you do is Zen.” (Adrian Maranan)

              Leon Gallery
            • Lao Lianben (b. 1948) - Untitled
              Sep. 09, 2023

              Lao Lianben (b. 1948) - Untitled

              Est: ₱1,000,000 - ₱1,300,000

              Lao Lianben (b. 1948) Untitled signed and dated 1995 (lower left) acrylic, watercolor, and ink on board 29 1/4" x 21 1/4" (74 cm x 54 cm) Accompanied by a certificate issued by Blanc Gallery and signed by the artist confirming the authenticity of this lot In viewing a Lao Lianben masterpiece, Leovino Ma. Garcia notes, “Take time to listen deeply to these paintings, bestow them “that purest and rarest form of generosity” - attention. Be drawn into a silence that speaks of compassion and joy.” The artist, with his magisterial hand, creates an orchestration of blacks, whites, and greys. His works represent the beauty of abstraction combining the principle of minimal application of simplicity, a philosophical endeavor through colors of zero faciality. This masterpiece emits a feeling of zen, a tranquility that comes with minimalist works but with such intentional stillness, there is a denoting message in their absence, a striking occurrence that is illuminated and strong.

              Leon Gallery
            • Lao Lianben (b. 1948) - Thinking of a View
              Sep. 09, 2023

              Lao Lianben (b. 1948) - Thinking of a View

              Est: ₱3,000,000 - ₱3,900,000

              Lao Lianben (b. 1948) Thinking of a View signed (verso) and dated 1983 (center and verso) mixed media 35" x 48" (89 cm x 122 cm) As a painter, Lao Lianben focuses more on attitude and essence rather than style. His is an art that is rooted in personal struggles and profound confrontations with the vicissitudes and contradictions of a turbulent world. In a February 2023 interview with Lala Singian published in Lifestyle Inquirer, Lao revealed that the odds did not always favor him. As a child, he lived in a cramped house along Arlegui Street in Quiapo with his mother, grandmother, six siblings, and two helpers. “Things were in complete disarray as there was really no one in charge of the household,” Lao says. “To escape the daily chaos, I would go up to the roof and keep to myself. That was the only space in the house where I could be free.” From the “grueling hot nights,” as Lao puts it, and swarms of mosquitoes pestering what is supposed to be a peaceful sleep for him and his family, it was a depressing cul-de-sac. But that very moment of struggle and seemingly helpless conditions came an artistic awakening in Lao’s inner soul—and the birth of the Zen spirit inside of him that continues to be a balm for a constantly distressing and disconcerting earthly existence. Lao recalls in the same interview: “I have learned to put myself to sleep and not complain of discomfort by staring up intently at the mosquito net while I try to make out figures of animals (an elephant) or imagine that I’m looking up into the night sky of cloud formations. My imagination and musings made me forget about my body drenched in sweat and lulled me to sleep. Through this experience, I have not only learned to see with my eyes but also to think with them. Looking back, I must say that my art process is greatly informed by what I see, and my ideas are developed more visually.” Now that we have taken a glimpse into the artist’s early struggles and history comes a better understanding of this absorbing piece titled Thinking of a View, a work from Lao’s earlier artistic phases. Thinking of a View comes from the same period when Lao won the prestigious Mobil Art Award in 1983. Prior to that, Lao had already relished the taste of success, having won in the Art Association of the Philippines (AAP) Annual an honorable mention in 1970 and second prize in 1977. Perhaps the most intriguing part of this piece is the center, which is outlined with grids, evoking two areas of discipline: visual art and cartography. In maps, grids help determine the exact location of a particular place using latitude and longitude. In the visual arts, especially in drawing, grids are of utmost importance in rendering subjects accurately, stimulating spatial awareness, and ensuring accurate proportions. The center, formed by Lao’s cutting of this portion of the canvas, possesses an inherently instinctive atmosphere, as evidenced by Lao’s scraping of the surface, leaving jarring scratches and forming crevices that expose the composition’s wooden base. With this interesting intertwining of cartography—the science of map making—and the freedom inherent in the visual arts, Lao highlights an inner landscape (a spiritual vista if one may deem it) of the psyche that is borne from observation, nourished by contemplation, and immortalized by an artist who genuinely lives his own art: an art that centers around the beauty of dynamic and sublime stillness. By spontaneously scraping his composition, Lao empowers his subconscious to flow unbridled, revealing his penchant for the soothing solemnity of active musing; his spiritual mind is unraveled, and it invigorates the viewer to engage in the virtue of one’s peace and quiet. In a work that speaks to its viewer, it evokes in us Lao’s early life: harnessing thinking through seeing, in which the invisible is made visible, the abstract becomes a palpable reality, and the imagined turns to actuality. Lao comfortingly stimulates us to do the same. (Adrian Maranan)

              Leon Gallery
            • Lao Lianben (b. 1948) - Inner Light
              Sep. 09, 2023

              Lao Lianben (b. 1948) - Inner Light

              Est: ₱600,000 - ₱780,000

              Lao Lianben (b. 1948) Inner Light signed and dated 1995 (lower left and verso) mixed media on paper 30" x 22 1/2" (76 cm x 57 cm) The work of art aptly titled “Inner Light” is among the Lao Lianben pieces that evince Zen beliefs and practices. As with most of his works, the bright light illuminating the darkness could be seen as a manifestation of the spirit when one is in deep meditation. However, for the lot at hand, it is more reasonable to interpret “inner light” in terms of aesthetics than a spiritual experience. In traditional Japanese aesthetics, wabi-sabi is a worldview centered on the acceptance and appreciation of the beauty that is “imperfect, impermanent, and incomplete.” Wabi-sabi is a composite of two interrelated aesthetic concepts: wabi and sabi. For the Stanford Encyclopedia of Philosophy, wabi means “subdued, austere beauty.” In other words, wabi is a quality of austere and serene beauty expressing a mood of spiritual solitude recognized in Zen Buddhism. Also from the article of the Stanford Encyclopedia of Philosophy about Japanese Aesthetics, an excerpt from “In Praise of Shadows” (1933) written by the novelist Tanizaki Jun’ichirō provides enlightenment about the manifestation of wabi in our surroundings, using as an example the alcove or tokonoma in the traditional Japanese teahouse: “An empty space is marked off with plain wood and plain walls, so that the light drawn into it forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway.” Lao depicts in this piece a structure that is illuminated at the center of the canvas, much like in the “In Praise of Shadows” where the emptiness created by the alcove invites a play of light and shades. And, as an artist who devotes his art to expressing the essence of light, perhaps it can also be said that he wanted to impart in this painting that inner light will always prevail against the darkness. (Isabella Romarate)

              Leon Gallery
            • Lao Lianben (b. 1948) - Voices
              Sep. 09, 2023

              Lao Lianben (b. 1948) - Voices

              Est: ₱1,800,000 - ₱2,340,000

              Lao Lianben (b. 1948) Voices signed and dated 1998 (lower left) acrylic on canvas 30" x 19" (76 cm x 48 cm) In this lot titled Voices, blackness pervades the canvas; darkness seems to have engulfed the entirety of the composition. In traditional symbolism, black signifies despair and disorder. But like a light at the end of the tunnel, patches of white appear and seemingly embark on an endeavor to escape the abyss of the shadows. Lao Lianben, the Zen virtuoso, paints Voices as a likely self-portrait. We see him in his creative exercise of profoundly engaging in the transformative power of one’s stillness—a kind of meditation that straddles between quietude and vitality. The white patches signify the “voices,” not the literal “voices” of others but the often-contradicting thoughts within Lao himself. Thus, the work exemplifies the artist’s continuing pursuit of exploring the infinite possibilities and reinvigorations that imbibing the spirit of Zen in one’s self can engender. Through Lao’s artistic praxis of cathartic and transformative meditation, made possible through his spiritual spontaneity in creating his sublime art, the artist ignites that ever-powerful flame of transcendent harmony that recognizes, confronts, understands, and unites the often conflicting “voices” inside of him, be it in the form of corporal or spiritual needs or even the rigidity of logic and intellect and the unbridled gush of creativity. In this regard, the white patches not only give us glimpses into Lao’s psyche but provide us a mystical view into our inner selves; we have now integrated ourselves into the composition. It is not Lao’s portrait anymore but our image. The blackness of the composition changes to become a symbol of that powerful capability inside of us to recognize the endless cycle of contradictions and transform them as paths towards strengthened enlightenment made possible by continuous meditation and introspection in everything we do. Thus, we are in an infinite cycle of birth and rebirth, a liberating way of thinking toward the renewal of the self. In the still of darkness, we honor, not evade, that inner darkness we encounter in order to bring ourselves to light, the fullness and clarity of being and becoming amid a chaotic world filled with everyday vicissitudes. The work Voices becomes like a gospel that is empowering and reawakening. (Adrian Maranan)

              Leon Gallery
            • Lao Lianben, Philip Victor, Herminigildo Tecson
              Jul. 29, 2023

              Lao Lianben, Philip Victor, Herminigildo Tecson

              Est: ₱20,000 - ₱26,000

              Abstract signed and dated 1976 (lower right) watercolor and graphite on paper 12” x 18” (30 cm x 46 cm)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Jul. 29, 2023

              Lao Lianben (b. 1948)

              Est: ₱15,000 - ₱19,500

              a. Untitled hand signed and dated 1983 (lower left) lithograph, artist’s proof b. Untitled hand signed and dated 1983 (lower left) lithograph, e/a 41/100 c. Untitled hand signed and dated 1983 (lower left) lithograph, artist’s proof 6” x 5 1/2” (15 cm x 14 cm) each

              Leon Gallery
            • Lao Lianben (b. 1948)
              Jun. 17, 2023

              Lao Lianben (b. 1948)

              Est: ₱1,600,000 - ₱2,080,000

              Liquid Light signed and dated 2003 (lower left and verso) acrylic and graphite on paper 72" x 45" (183 cm x 114 cm) PROVENANCE Private Collection, Hong Kong Lao Lianben’s Liquid Light is a spiritual landscape of harmony, wisdom, purity, and enlightenment. In this piece, Lao invites the viewer to converse with one’s inner spirit and embark on a journey from the corporeal and temporal toward the sublime metaphysical. In Liquid Light, blackness pervades the composition, with small “crevices” revealing patches of white. Black is a color usually associated with mourning and suffering. In Buddhist art, its symbolism does not veer far away; it represents the primordial darkness. In the center, a narrow line of luminous white seemingly tries to break out of the darkness, slowly unfolding its sphere of spiritual stillness and serenity. Here is a path towards the harmony of all things, the consummate realization of all struggles and contradictions, the fulfilling way to satori, which is the unexplainable and enigmatic state of sudden intuitive enlightenment, the ultimate goal of Zen Buddhism. Much like Lao’s character, the composition is imbued with enigmatic quietism. The artist emboldens us to lose ourselves in the darkness of our inner selves, navigate through the cascading streams of the conscious and subconscious, and find within the vast turbulent ocean of conflicts that elusive yet fulfilling reservoir of awakening lucidity and wisdom. In line with Lao’s artistic praxis, one may achieve this in the company of persistent and enduring contemplation, even in the midst of the hustle and bustle of everyday activities. As the legendary founder of Zen Buddhism, Bodhidharma once said: “Not thinking about anything is Zen. Once you know this, walking, standing, sitting, or lying down, everything you do is Zen. To know that the mind is empty is to see the Buddha.... Using the mind to reality is a delusion. Not using the mind to look for reality is awareness. Freeing oneself from words is liberation.” Lao’s paintings, as exemplified by Liquid Light, encourage seeing as a way of profound introspection and a deep deliberation of all things and ideas colliding, thus enkindling in oneself that ability to see the transcendent gateway towards spiritual growth and enlightenment. The 13th-century Japanese Zen philosopher and priest Dōgen said, “Enlightenment is intimacy with all things.” (A.M.)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Jun. 17, 2023

              Lao Lianben (b. 1948)

              Est: ₱4,800,000 - ₱6,240,000

              Harmony signed (lower left and verso) and dated 2009 (verso) PROVENANCE Acquired directly from the artist by the present owner Lao Lianben’s enigmatic masterpieces act as a metaphysical medium to convey his inner sense of spirituality and profound understanding of the world around him. In this piece titled Harmony, Lao invites us to stare at the center, in which a portal-like structure strikingly stands. Surrounding the figure are Lao’s signature white palette and textured strokes that seemingly pulsate upon closer look. The masterfully textured strokes reinforce the importance of the central figure. By now, we are soothingly thrust towards the entrancing gateway—a portal to the stillness of inner being. With Lao’s every throbbing yet calming brushstroke comes the cleansing of the depths of our psyche. For Lao, contradictions are inherent in this world; they have been here from the moment we were conceived, and they are bound to stay even after we die. Amid this inevitable circumstance comes the choice of whether to let ourselves succumb to the abyss of inaction and stagnation; or to unabatingly steer towards that enlightening path of accepting the universality of contradictions through an unfaltering determination to struggle against and continuously overcome these elements. Lao evokes the Japanese enduring philosophical concept of wabi-sabi, constantly searching for beauty amid the madness, imperfection, irregularities, and of course, contradictions. Lao’s signature white composition in this work becomes more powerful than ever: it is now a powerful symbol of willpower, wisdom, and freedom from the bondage of apprehensions brought by conflict. It is only through accepting the absoluteness of contradictions that one engenders a sense of clarity THE SPECTACULAR MID-YEAR AUCTION 2023 5 6 and transcendence—a liberating deliverance from the trepidation and tensions of the corporeal to sublimely entering the fulfillment of enlightenment and inner peace. Begging bowls are ubiquitous to Buddhist monks, symbolizing their willingness to receive the dharma, Buddha’s teachings. But in the case of Lao and his art, it is the act of receiving and letting in the inner spirit that emanates from within, one that engenders harmony in one’s being and brings out the mysticism and inherent serenity of his art. (A.M.)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Jun. 17, 2023

              Lao Lianben (b. 1948)

              Est: ₱160,000 - ₱208,000

              Untitled signed and dated 1985 (lower right) acrylic and graphite on board 9 1/2" x 12" (24 cm x 30 cm) PROVENANCE: Acquired directly from the artist The works of Lao Lianben draw inspiration from the aesthetics of Zen. In Zen, an ensō is a circle that symbolizes enlightenment and elegance, the universe and the void. The circle is hand-drawn in one or two unrestrained brushstrokes to express “a moment when the mind is free to let the body create.” If the ensō is open, it is incomplete and thus allows for movement and development. If the ensō is closed, it represents perfection, akin to Plato’s ideal form, which is why the circle The evolution of Jose Joya as an artist is evident in his works that exhibit a style that led him to explore indigenous forms and expressions. His oeuvre during this period revealed a multilayered space that utilized vibrant hues and occasional use of neutral tones. As observed in this untitled piece, his abstract paintings and harmonious colors are often inspired by tropical landscapes. In the ‘70s, around the time the lot at hand was created, the fine artist found himself in his experimental phase. He worked in a variety of media and forms, from ceramic designs and figure sketches to oil and acrylic paintings, which comprised the bulk of his major works. His renowned oil painting titled “Warm Afternoon” was made in 1974, the same year this untitled piece is dated. The decade was fruitful in his celebrated career as he also was a dean of his alma mater, the University of the Philippines College of Fine Arts, from 1970 to 1978. In 1971, he received the Patnubay ng Kalinangan award during the 4th Centennial of the City of Manila. (P.I.R.) was used for centuries in the creation of cosmological models. The ensō is also thought to help with meditation practice, and a person who is mentally and spiritually complete, as Zen Buddhist calligraphists believed, can draw a true ensō. Although the artist himself does not practice Buddhism, Lao admitted in an interview that he is intrigued by it. (P.I.R.)

              Leon Gallery
            • LAO LIANBEN (B.1948) Meditation 3 acrylic on wood 183 x 76 cm. (72 x 29 7/8
              May. 29, 2023

              LAO LIANBEN (B.1948) Meditation 3 acrylic on wood 183 x 76 cm. (72 x 29 7/8

              Est: $220,000 - $380,000

              LAO LIANBEN (B.1948) Meditation 3 acrylic on wood 183 x 76 cm. (72 x 29 7/8 in.)

              Christie's
            • Lao Lianben (b. 1948)
              Feb. 18, 2023

              Lao Lianben (b. 1948)

              Est: ₱4,000,000 - ₱5,200,000

              Lao Lianben (b. 1948) Under The Influence signed (lower left and verso) acrylic on canvas 72" x 48" (183 cm x 122 cm) PROVENANCE Acquired directly from the artist The mystical symbol of the ensō or circle has figured prominently in the works of contemporary artist Lao Lianben. In Zen, the ensō represents the strength of character, nothingness, and enlightenment. The 6thcentury Japanese text titled the Shihinmei refers to the way of Zen as “a circle of vast space, lacking nothing and holding nothing in excess.” The nothingness present in the ensō embodies the expanse of contradiction trapped within the circle, representing the endless cycle of struggling and overcoming. This resonates deeply with the artistic praxis of Lao, particularly in this piece titled Under the Influence. In this work, Lao renders the ensō in its scarred magnificence. The artist invites us to revel in quietude as we solemnly engross ourselves in the presence of the circle. In Zen, rendering the ensō requires disciplined spontaneity, as it is drawn or painted in a single stroke, capturing the unvarnished emotions of the painter as they skillfully charge the canvas with their personality and spirituality. Therefore, the piece encapsulates Lao in the act of meditation. As such, this piece can be seen as Lao’s self-portrait, as it captures him in the sublimity of his unveiled spiritual temperament. When the ensō is closed, it symbolizes perfection. When the ensō is not closed, i.e., incomplete, it represents the inherent beauty in imperfection. In Japanese aesthetics, this pertains to the concept of wabi-sabi, which the Stanford Encyclopedia of Philosophy dissects into two interrelated concepts, wabi (“subdued, austere beauty”) and sabi (“rustic patina” or the beauty of the passage of time). One must not change or alter the appearance of the ensō once they have rendered it, for its beauty comes from its maker’s genuine expressiveness while painting it. It is perfectly imperfect. However, in this work, it is uncertain whether the ensō is complete or not. A single striking brushstroke penetrates the circle, making this a matter of obscurity. Here, Lao blurs the line between perfection and imperfection. The “line” penetrating the inside of the circle symbolizes harmony realized and attained in the face of life’s roughness and the frailty of mortal existence. The ensō also symbolizes the circle of life. Relating this to Lao’s work, life is an endless cycle of struggles and tribulations, a tug-of-war between attaining perfection and falling into imperfection. But Lao reminds us of one thing: contradictions are inherent in life. Embracing those contradictions through practicing tranquility amid confusion (seijaku) will lead us to understand that contradictions form part of our humanity. We must accept this (stark) reality, and there is always this path that is enlightenment—the realization of the oneness of things—to attain spiritual awakening and renewal to overcome those contradictions every time. We shall let go of all expectations. We can never achieve perfection, but we can always strive toward harmony. What we lack in perfection is fulfilled by our strength of spirit and character. We are always under the influence of life’s contradictions and imperfections and only learn how to navigate it through meditation. We are also under the influence of meditation, only if we commit to it our spiritual well-being. This is in itself a contradiction, and that is the allure of existence. Zen has always revolved around the enigmatic, and perhaps, this is what Lao instills in his viewer: the mysterious beauty inherent in imperfection, realized through solitude and contemplation toward the elusive path that is enlightenment. (A.M.)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Feb. 18, 2023

              Lao Lianben (b. 1948)

              Est: ₱700,000 - ₱910,000

              PROPERTY FROM THE LEOVINO MA. GARCIA COLLECTION Lao Lianben (b. 1948) Tryst 1998 signed and dated 1998 (lower left) mixed media on paper 22 1/2" x 30 1/4" (57 cm x 77 cm) PROVENANCE: Acquired directly from the artist "A secret rendezvous between lovers," as defined by the dictionaries for the word tryst. A fitting title for this piece, Lao Lianben evokes in this abstract composition a sensuality that is subtle as well as intense. The vast white canvas, almost blinding in its light, is interrupted by the shadows that inhabit its untainted surface. A tryst indeed, the darkness symbolizes the intimate space where the secret lovers can be together, hidden from the ones they hide from, and perhaps away from the purity that the world upholds so dear. The intense lines, rendered in strong strokes, indicate energy and emotions – their bottled-up desires unleashed, nobody and nothing to hinder them. Once more, in this minimalist painting, Lao proves that he is the master of the monochrome, profound and unmatched in his ability to create worlds using the sparest of means. His abstract oeuvres are often associated with sound meditations and sincere contemplations. A myriad of feelings, experiences, and stories are imbued with enigmatic and evocative undertones in the artistic interpretations of Lao. (P.I.R.)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Feb. 18, 2023

              Lao Lianben (b. 1948)

              Est: ₱120,000 - ₱156,000

              Lao Lianben (b. 1948) Untitled signed and dated 1992 (lower right) acrylic on paper 6 1/2" x 6 1/2" (17 cm x 17 cm) Accompanied by a certificate issued by Blanc Gallery confirming the authenticity of this lot PROVENANCE: Blanc Gallery, Quezon City The works of Lao Lianben draw inspiration from the aesthetics of Zen. In Zen, an ensō is a circle that symbolizes enlightenment and elegance, the universe and the void. The circle is hand-drawn in one or two unrestrained brushstrokes to express “a moment when the mind is free to let the body create.” If the ensō is open, it is incomplete and thus allows for movement and development. If the ensō is closed, it represents perfection, akin to Plato’s ideal form, which is why the circle was used for centuries in the creation of cosmological models. (P.I.R.)

              Leon Gallery
            • Lao Lianben (b. 1948) Temporary Exit From Reality
              Dec. 03, 2022

              Lao Lianben (b. 1948) Temporary Exit From Reality

              Est: ₱7,000,000 - ₱9,100,000

              Temporary Exit From Reality signed (lower left and verso) and dated 2008 (verso) acrylic, pencil, and modeling paste on canvas 55 1/2" x 82" (141 cm x 208 cm) PROVENANCE León Gallery, The Magnificent September Auction, Makati City, 10 September 2016, Lot 38 The 13th-century Japanese Zen Buddhist philosopher and teacher Dōgen once said: "Do not follow the ideas of others but learn to listen to the voice within yourself. Your body and mind will become clear, and you will realize the unity of all things." This principle is enshrined in Lao's artistic practice, particularly in this work, Temporary Exit from Reality. This piece exemplifies Lao's creative exercise on enigmatic solitude, one borne out of imbibing the spirit of Zen within oneself. For Lao, painting is a spiritual practice. In this work, Lao depicts an abstract figure of a man in repose. A circle, a recurring motif in Lao's works, can be seen directly above the man's head. It represents the ensō, which translates to 'circle' and symbolizes enlightenment, totality, and nothingness in Zen Buddhism. Lao "departs" from the world's tormented reality to encounter his inner conflicts. Thus, we see the artist in actual deep contemplation. The composition of this work evokes a sublime visual poetry manifesting the relationship between silence and meditation. Lao's depiction of a closed circle represents infinity, the never-ending contradictions in life, and the endless cycle of folding and unfolding. Through his praxis of meditational quietude, Lao engenders a melodious concordance among the "voices" inside him—ideas and actualities; needs and desires; emotions and intellect—to attain the fullness of "being and becoming." The closed circle also represents a "portal" into enlightenment, the balance and harmony of all things. In Zen aesthetics, a closed circle symbolizes sublime meditation. Integrated into Lao's trademark white composition, the artist evokes a state in which the mind,body, and spirit temporarily detach themselves from the often-painful predicaments of reality and enter a state of lulling silence, a path toward spiritual awakening and renewal. Dōgen says: "Meditation... is peace itself... the actualization of wisdom, the ultimate truth of the oneness of all things." Through this piece, Lao emboldens us to temporarily exit from reality to recuperate and regain strength to face life's infinite conflicts. In this process, meditation becomes a transformative action. Lao's sublime works transcend the limitations of the senses. The beauty of this piece lies in its capacity to convey myriad expressions, words, and images through a tranquil silence. The painting reminds us of the universality of contradictions—the conflicting voices inside us. But solemnly engrossing ourselves in reflection to fully embrace those contradictions as an inherent part of our existence enkindle harmony, completeness, and continuity amid life's never-ending vicissitudes. We must live with contradictions to overcome all contradictions. Hence, we are invited to revel in the intimacy of our innermost being. Dōgen further teaches us: "To start from the self and try to understand all things is a delusion. To let the self be awakened by all things is enlightenment." (A.M.)

              Leon Gallery
            • Lao Lianben (b. 1948) Stillness
              Dec. 03, 2022

              Lao Lianben (b. 1948) Stillness

              Est: ₱2,000,000 - ₱2,600,000

              Stillness signed and dated 1994 (lower middle) acrylic, modeling paste on burlap 36" x 48" (91 cm x 122 cm) PROVENANCE: Private collection, Makati City A man once sat in silence on a snow-covered mountain. He was a monk in meditation. He immersed himself in the inner stillness and his spirit was harmonious with nature. A calm aura emanated from him and beside his still body were wild birds at ease with his serene presence. He was Godō Nakanishi, a Buddhist monk, a poet, and a prominent ornithologist in Japan. A similar scene can be observed in this 1994 piece entitled Stillness by Lao Lianben. A master of non-representative art in the local scene, Lao is known to create monochromatic compositions that exhibit a wellspring of Oriental inspiration and Zen aesthetics. As plain as a Lao piece may appear, it allures its beholder into profound contemplations and meditations, inviting them to uncover its deep and hidden meanings. His art evokes sensitivity and creativity, insight and intuition. It does not disturb. Yet, it is arresting. In Buddhism, ‘samatha’ is a practice of sustained attention to a single focus, and in its deepest development, it leads to a temporary suspension of the activity of body and mind, and thus as well a temporary suspension of obstacles and obstructions. A transition from desire to end of desire. The essence of the spiritual self is found only when one is in the state of still. The principle is embodied in this masterpiece, where all else is rendered indistinct except for the amorphous subjects. A perfect portrayal of the Samatha. In the language of Pali, ‘samatha’ means stillness. And, stillness is the absence of movement or sound. The abstract silhouettes in the middle of the canvas are still—they verge on coalescing into recognizable shapes, but only at a moment, revealing no more than their obscured figures. A symbolic message can be found in their presence, a striking occurrence that is illuminated and sincere. Perhaps, an intention of deliberate stillness? A Zen proverb says, “We cannot see our reflection in running water. It is only in still water that we can see.” The same can be said with the inner spirit, when perfectly calm, the stillness within is reflected. (P.I.R.)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Oct. 21, 2022

              Lao Lianben (b. 1948)

              Est: ₱15,000 - ₱19,500

              Lao Lianben (b. 1948) Untitled (Circuit) hand signed and dated 1983 (lower left) each print a) H.C., 145/150 5 3/4” x 5 1/4” (15 cm x 13 cm) b) A/P, 2/51 5 3/4” x 5 1/4” (15 cm x 13 cm) c) lithograph, 569/999 5 3/4” x 5 1/4” (15 cm x 13 cm)

              Leon Gallery
            • Lao Lianben (b. 1948)
              Oct. 21, 2022

              Lao Lianben (b. 1948)

              Est: ₱15,000 - ₱19,500

              Lao Lianben (b. 1948) Ninja Nightmare signed and dated 1992 (lower right) stamp AP, 30/100 serigraph 19” x 25” (48 cm x 63 cm)Accompanied by a certificate issue by Artprint’s Philippines Inc and signed by Sarah Santos or Soler Santos confirming the authenticity of this lot

              Leon Gallery
            • Lao Lianben (b. 1948) - Voices
              Sep. 10, 2022

              Lao Lianben (b. 1948) - Voices

              Est: ₱5,000,000 - ₱6,500,000

              Lao Lianben (b. 1948) Voices signed and dated 1998 (lower left and verso) acrylic modeling paste on canvas 48" x 84" (122 cm x 213 cm) A Lao Masterpiece by LEOVINO MA. GARCIA Afirst rule in appreciating an abstract (especially a minimalist Lao) painting is never to expect a window into some visible reality. Lao gives you what you do not see at first view. It doubly becomes ironic when the title given is “View”. You can be certain that it is not an objective view, much less an objectified view. In the case of the painting “Voices”, we are already provided with a clue. It does not immediately refer to the sense of sight but to another sense—the sense of hearing. The artist is not first a visionary but an explorer—an embodied or incarnate spirit who is a being-in-the world. With an inspired hand, the artist applies a few strokes to materialize not a vision of objects. If we are to follow the French philosopher Maurice Merleau-Ponty, the artist is an explorer who beckons us to enter a world more real than our everyday world—a world where we not only see but wander around to touch, hear, smell, and taste fleeting experiences of quiet energy that calm and invigorate us.

              Leon Gallery
            • Lao Lianben (b. 1948) - View
              Sep. 10, 2022

              Lao Lianben (b. 1948) - View

              Est: ₱300,000 - ₱390,000

              Lao Lianben (b. 1948) View signed and dated 1995 (lower left) acrylic, modeling paste, graphite on paper 15" x 22 1/4" (38 cm x 57 cm) A first rule in appreciating an abstract (especially a minimalist Lao) painting is never to expect a window into some visible reality. Lao gives you what you do not see at first view. It doubly becomes ironic when the title given is “View.” You can be certain that it is not an objective view, much less an objectified view. The artist is not first a visionary but an explorer—an embodied or incarnate spirit who is a being-in-the world. With an inspired hand, the artist applies a few strokes to materialize not a vision of objects. If we are to follow the French philosopher Maurice Merleau-Ponty, the artist is an explorer who beckons us to enter a world more real than our everyday world—a world where we not only see but wander around to touch, hear, smell, and taste fleeting experiences of quiet energy that calm and invigorate us. (Leovino Ma. Garcia)

              Leon Gallery
            • Lao Lianben - One Cloud I, II, III
              Sep. 10, 2022

              Lao Lianben - One Cloud I, II, III

              Est: ₱400,000 - ₱520,000

              Lao Lianben One Cloud I, II, III signed (lower center); signed, titled, inscribed and dated 2004 (verso) each a) acrylic on canvas b - c) acrylic modeling paste on canvas artwork: 18" x 4" (41 cm x 10 cm) each with frame: 40" x 18 1/8" (102 cm x 46 cm) each In Zen Buddhism, unsui, which literally translates as "cloud and water," originated from an ancient Chinese poem that says, "to drift like clouds and flow like water." Dr. Helen J. Barno, an associate professor at the University of Hawaii's Department of Religion, writes in her book The Illustrated Encyclopedia of Zen Buddhism: "The term can be applied more broadly for any practitioner of Zen, since followers of Zen attempt to move freely through life, without the constraints and limitations of attachment, like free-floating clouds or flowing water." It has always been a marvelous wonder how Lao Lianben imbibes his works with such quiet intensity despite his deliberate avoidance of venturing into explicit narratives. In this piece titled One Cloud, Lao paints three distinct images of clouds on three separate canvases. But they are not clouds in the scientific sense of the word. Like the innate characteristic of clouds to wander freely in the skies, Lao's One Cloud represents freedom in solitude, the beauty of drifting toward a tranquil and harmonious state of mind. According to the Oxford Dictionary of Buddhism, unsui also refers to "Zen monks who, having achieved enlightenment (satori) after an initial period of training under their first master, take to the road in search of other masters. This is done in order to either test their awakening against them or deepen it with them." Like a Buddhist monk, Lao's sense of contemplation grows deeper with each work of art. As with the case of this specific work, the artist invites us to a more profound encounter with our inner silence toward achieving the serenity of being. The sublimity of this work inspires the viewer to be at one with themselves, to free one's self of inhibitions to discover their true essence amid the unceasing tensions and contradictions in life. Here, Lao evokes the ethereal, divine experience of being unbridled in our moments of intimate contemplation. As we continuously unchain ourselves by discerning and imbibing the silence within us, we become one with our mind, body, and inner spirit, engendering clarity of thought and balance. (A.M.)

              Leon Gallery
            • Lao Lianben - In Silence
              Sep. 10, 2022

              Lao Lianben - In Silence

              Est: ₱300,000 - ₱390,000

              Lao Lianben In Silence signed (lower left) and dated 2005 (verso) acrylic on canvas artwork: 16 1/4" x 12 1/4" (41 cm x 31 cm) with frame: 36" x 28" (91 cm x 71 cm) To fully grasp the essence of Lao Lianben's works, one thing must be willfully taken into consideration: an understanding of his character in relation to his passionate artistic affair with the experiential character of Zen aesthetics. Lao Lianben's soft-spoken and reserved personality—a man of few words—is born out of his practice of applying and embodying the principles of Zen aesthetics, i.e., austerity, simplicity, and subtlety. This sublime refinement inherent in Lao's character has always been imbued by the artist in his works, a reflection of his profound understanding of and connection with his inner being. In this soul-penetrating work titled In Silence, Lao integrates his gentle character to evoke unspoken, powerful expressions of calmness and quietude. In this particular piece, we are attracted to stare at the white centerpiece. As white connotes purity, knowledge, and wisdom, so too we are drawn towards clarity of thought and freedom from worldly disturbances. The composition sublimely captures a peaceful, solitary atmosphere characterized by a lulling silence akin to a Buddhist monk in deep contemplation. Here, Lao invites us to bask in the solemn, ethereal praxis of meditative reflection. The central frame of the work compellingly evokes a divine path toward tranquility and balance. As contemplation grows more profound, we learn to cultivate the silence within ourselves. This nourishes our soul; thus, we gradually achieve an intimate discovery of one's inner essence and, eventually, the fullness of being. (A.M.)

              Leon Gallery
            • LAO LIANBEN (FILIPINO 1948-) UNTITLED, 1978
              Aug. 10, 2022

              LAO LIANBEN (FILIPINO 1948-) UNTITLED, 1978

              Est: £800 - £1,200

              LAO LIANBEN (FILIPINO 1948-) UNTITLED, 1978 Signed and dated lower left, ink and wash (14cm x 14cm (5.5in x 5.5in))

              Lyon & Turnbull
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