CURRENT EXHIBITIONS
WILDLIFE PHOTOGRAPHER OF THE YEAR (until 1st September 2013)
Living in the concrete jungle, people in Hong Kong don't often get a chance to look at nature close up but locals and tourists alike have the opportunity to see stunning images of wild animals and the natural world at the "Wildlife Photographer of the Year" exhibition at the Leisure and Cultural Services Department's Hong Kong Science Museum.
Running from 1st June 2013 to 1st September 2013, the exhibition showcases 100 winning pictures from the 2012 "Wildlife Photographer of the Year Competition" co-organised by the Natural History Museum in London (UK) and BBC Worldwide. Now in its 48th year, this internationally recognised competition showcases the very best in innovative nature photography and highlights important environmental messages.
Selected from more than 48 000 images taken by amateur and professional photographers from 98 countries, these striking images are chosen for their aesthetic qualities and also for their extraordinary, often technically amazing and shocking, reflections of events in nature. Each photograph on display includes a photo caption describing the subject and details of how the photograph was taken. Furthermore, to maximise their presentation the photographs will be displayed using duratrans with backlit images, adding an outstanding cinematic dimension to the dramatic wildlife stills.
The exhibition is divided into eight broad sections, namely "Wildlife Photographer of the Year, Young Wildlife Photographer of the Year", "The Eric Hosking Portfolio Award, The Gerald Durrell Award for Endangered Species, Wildscapes", "The Wildlife Photojournalist Award, Creative Visions, The World in Our Hands", "Underwater Worlds, Nature in Black and White, Animals in Their Environment", "Urban Wildlife, Botanical Realms, Animal Portraits", "Behaviour: Cold-Blooded Animals, Birds, Mammals", "Young Wildlife Photographers" and "Slide Show".
The title Wildlife Photographer of the Year is given to the photographer whose picture is chosen as the most striking and memorable of all the competition entries. There is also a special category for young photographers aged 17 or under and the winner is given the title the Young Wildlife Photographer of the Year.
The Eric Hosking Portfolio Award, named after the pioneering natural history photographer, aims to inspire, reward and empower young photographers aged 18 to 26.
The Gerald Durrell Award for Endangered Species seeks to raise awareness, through photographic excellence, of wildlife in danger of extinction. The photographs are of species critically endangered, endangered, vulnerable or near-threatened, as officially listed in the IUCN Red List.
The Wildlife Photojournalist Award is given for a series of six unique images that together tell a memorable story without the need for words. Images are judged on their story-telling power as well as the quality of the individual photographs.
Photographs shown under the category Wildscapes reflect the scale and magnitude of our land, sky and seas, as well as the diverse and breathtaking effects of the natural forces that sculpt these environments.
Creative Visions is a category for conceptual pictures - original and surprising views of nature, whether figurative or abstract - which are judged purely on their artistic merits and execution.
Photographs in The World in Our Hands explore the complex relationship between people and the environment, both constructive and destructive. They can be newsworthy, symbolic or graphic, but should all inspire a greater awareness of how our actions affect the natural world.
The subjects in the Underwater Worlds category are aquatic environments and the marine and freshwater species that inhabit them. Images may be portraits, action shots or wide shots, but must always be photographed under the water.
Nature in Black and White looks for skillful use of the black-and-white medium to enhance a striking composition. Any wild landscape, plant, animal or behaviour can be featured.
In Animals in Their Environment, photographs must convey a feeling of the relationship between an animal and the place it lives, and have a great sense of atmosphere.
Urban Wildlife highlights nature's occupation of the human-made environment and seeks to capture the magic of the commonplace. Images should be surprising, stirring and revelatory.
Recalling the traditional classification of the botanical kingdom, the category of Botanical Realms features plants, fungi, algae and slime moulds. Images should capture the beauty, mystery, majesty and fragility of the subject, whether in close-up or as part of the wider world.
A good portrait reveals something about its subject beyond the obvious. Photographs in the category of Animal Portraits should all convey a sense of intimacy and capture the personality and spirit of the animal in a fresh and imaginative way.
Photographs in the Behaviour: Cold-Blooded Animals, Birds, Mammals category must capture memorable, unusual or dramatic behavior of the animals and have interest value as well as visual appeal.
There are three sub-categories in the Young Wildlife Photographers category (17 years old or under). The photographs can show plants or animals, using any of the themes covered by the adult categories, whether portrait, action or landscape.
Hong Kong Science Museum is located at 2 Science Museum Road, Tsim Sha Tsui East, Kowloon. It is open from 10am to 7pm on weekdays and from 10am to 9pm on Saturdays, Sundays and public holidays. It is closed on Thursdays (except public holidays). Admission is HK$25 with a half-price concession for full-time Hong Kong students, people with disabilities and senior citizens aged 60 or above. Group tickets at HK$17.5 each are available to groups of 20 persons or more. Admission is free on Wednesdays. Further information about the exhibition can be found at the museum's website;
http://hk.science.museum/ms/wpy/eindex.html
THE ORIGIN OF DAO: NEW DIMENSIONS IN CONTEMPORARY CHINESE ART (until 18th August 2013)
"The Origin of Dao: New Dimensions in Chinese Contemporary Art", a large-scale contemporary art exhibition that gathers the work of 37 Chinese artists from the Mainland, Taiwan, Hong Kong and overseas, is being staged at the Hong Kong Museum of Art from 17th May 2013 to 18th August 2013, showing the transformation of artistic creation as well as cultural reflection in Chinese contemporary art.
This exhibition brings to a close the "Hong Kong Art: Open Dialogue" exhibition series organised by the Hong Kong Museum of Art since 2008. "Hong Kong Art: Open Dialogue" includes a guest-curated series of exhibitions which aims to turn the Hong Kong Museum of Art into a platform for exchange of views on art, especially Hong Kong art. Concluding this exhibition series, "The Origin of Dao: New Dimensions in Chinese Contemporary Art" is guest-curated by Professor Pi Daojian, who has brought together works by prominent Chinese artists to show how they have transformed the unique elements of traditional Chinese art into innumerable new forms and given voice to contemporary values and spiritual pursue.
The exhibition series organised by the Hong Kong Museum of Art was conceived as a new initiative, aiming to open up the exhibition platform of the museum for nurturing talents in curatorship and encouraging participation of the public through strengthening partnerships with the guest curators. Guest curator of the current exhibition, Professor Pi, is a renowned Chinese scholar and art critic, possessing ample experience in curating and academic research. Chinese contemporary art has been receiving increasing attention around the world in recent years, and the exhibition curated by Professor Pi begins with a contemporary vision to contemplate and explore the characteristics and direction of Chinese art amidst the trend of globalisation, giving visitors an extraordinary experience.
In the development of Chinese contemporary art, the unique essence of traditional Chinese art has been incorporated into various new practices which give voice to contemporary values and spiritual pursuits. Featuring works of painting, calligraphy, lacquerware, ceramics, installation, video and animation by 37 Chinese artists from the Mainland, Taiwan, Hong Kong and overseas, the exhibition explores the reinterpretation of the traditional values and concepts of Chinese art by these Chinese artists, and the changes in their reflection and artistic creation.
The artists participating in the exhibition are Chen Qinqun, Chen Shuming, Chu Hing-wah, Gu Wenda, Hung Keung, Kan Tai-keung, Kum Chi-keung, Lam Tung-pang, Leung Kui-ting, Li Jin, Li Jun, Li Shinan, Liang Quan, Liu Zijian, Liu Qinghe, Eddie Lui, Man Fung-yi, Qiu Anxiong, Qiu Zhijie, Shao Yan, Shen Qin, Shen Ye, Sara Tse, Wan Qingli, Wei Qingji, Wong Chung-yu, Wucius Wong, Wu Yi, Xie Zhen, Xu Bing, Yang Guoxin, Yang Jiechang, Yu Hongbin, Yu Peng, Zhang Chengzhi, Zhang Quan and Zhang Yu. Their works were grouped under five sections for display, namely "Meditation and Narration", "Energy Field: Creation and Space", "City． The World of Mortals", "Writing and Self-Cultivation" and "Great Harmony".
For a full list of exhibits see;
http://gia.info.gov.hk/general/201305/16/P201305160360_0360_111241.pdf
A fully illustrated catalogue of the exhibition is available at the Gift Shop of the Hong Kong Museum of Art.
The "Hong Kong Art: Open Dialogue" exhibition series organised by the Hong Kong Museum of Art since 2008 explores Hong Kong art from different perspectives. Exhibitions which have been finished are "Digit@logue" (curated by Ms Ellen Pau), "New Ink Art: Innovation and Beyond" (curated by Mrs Alice King), "Looking for Antonio Mak" (curated by Ms Valarie C. Doran) and "Charming Experience" (curated by Ms Grace Cheng).
Hong Kong Museum of Art is located at 10 Salisbury Road, Tsim Sha Tsui, Kowloon. It is open from 10am to 6pm on weekdays and from 10am to 7pm on Saturdays, Sundays and public holidays. The museum is closed on Thursdays (except public holidays). Admission is HK$10 and a half-price concession is available to full-time students, senior citizens and people with disabilities. Group tickets at HK$7 each are available to groups of 20 persons or more. Admission is free on Wednesdays. For further information see the Hong Kong Museum of Art's website;
http://www.lcsd.gov.hk/CE/Museum/Arts/en_US/web/ma/exhibition.html#03
INTELLIGENCE INFINITY: INSPIRATION THROUGH ART (until 23rd September 2013)
With the aim of encouraging children to explore their intelligence through enjoying art, the Hong Kong Heritage Museum has launched its latest exhibition, "Intelligence Infinity: Inspiration through Art". With the playful artworks and interactive art space designed by 16 participating artists, the exhibition encourages kids and parents to develop their creativity through touching the exhibits and creating works with the artists. This is the first time a public museum in Hong Kong has organised an art exhibition that targets a young audience, and it is hoped that this can offer visitors a unique museum experience. The exhibition runs from 12th May 2013 to 23rd September 2013.
"Intelligence Infinity: Inspiration through Art" is an art exhibition designed for children based on Howard Gardner's theory of multiple intelligences. Gardner believes that every child is a potential prodigy in a particular form, which can be presented in multiple formats. Suitable teaching methods can unleash and further develop the abilities of children. He divided the cognitive abilities into eight categories: linguistic, logical-mathematical, spatial, musical, bodily-kinaesthetic, interpersonal, intrapersonal and naturalistic intelligences. Gardner's theory suggests that every person possesses intelligences in different combinations and various stages of development.
Gathering the eight intelligences in 10 specially designed interactive artworks and exhibition spaces, this exhibition provides a platform for children to experience and learn through appreciating and playing in the exhibits to learn about the sense of touch, cognition, social interaction, emotion and other concepts, thereby enjoying the full spectrum of intelligences. Parents can observe and focus their efforts on areas in which their children show potential.
To gather innovative thoughts, a total of 16 local artists working in a range of different media, from the fields of architecture, painting, sculpture, media art, fashion design, graphic design, comics, music, installation and illustration, were invited to create artworks and interactive exhibition spaces. They are Chris Cheung, Cheng Kar-wai, Henry Chu, Steven Chu, Kevin Fung, Lam Mui-ling, Lam Tung-pang, Carol Lee, Lung Heung-wing, Anson Tsang, Kenneth Tse, Pacino Wan, Humphrey Wong, Wong Tin-yan, Leo Yeung and Clement Yick. The exhibits in various formats, which take into account the life experience of children, are showcased in an exciting "playground" with a variety of sensations, and children can unveil their hidden talents on a journey of infinite intelligence.
To inspire the young audience's curiosity, four architects, Anson Tsang, Kenneth Tse, Steven Chu and Humphrey Wong, have turned the exhibition hall into a scene of a fairy tale. Adults and children are expected to take different paths to view the exhibits. There are areas exclusive for the younger visitors, who can explore and then share their experiences with older visitors.
Graphic designer Clement Yick has provided graphic design for the Parent's Guide Book targeting adults, as well as the Little Captain's Friendly Call pamphlet targeting young visitors. He has created a team of wizards, each representing one type of intelligence. Meanwhile, comic artist Cheng Kar-wai is responsible for a comic centred on interactive pieces by 10 artists, a rare form of exhibit description for junior readers. Made with kids in mind, these playful designs are presented to take young visitors to a new dimension where their spatial intelligence and creativity can be unleashed.
"Intelligence Infinity: Inspiration through Art" is presented by the Hong Kong Government's Leisure and Cultural Services Department and is one of the programmes of "Hip Hong Kong" under the "Hong Kong: Our Home" Campaign.
For further details see the museum's website;
http://www.heritagemuseum.gov.hk/eng/exhibitions/exhibition_details.aspx?exid=201
Hong Kong Heritage Museum is located at 1 Man Lam Road, Sha Tin. It is open from 10am to 6pm on weekdays, and from 10am to 7pm on Saturdays, Sundays and public holidays. The museum is closed on Tuesdays (except public holidays). Admission is HK$10 and half-price concessions are applicable to full-time students, people with disabilities and senior citizens aged 60 or above. Group admission fee is HK$7, applicable to every purchase of 20 tickets or more. Free admission for children aged below 4. Admission is free on Wednesdays.
ANTI-JAPANESE WAR HEROES - AN EXHIBITION ON THE HONG KONG INDEPENDENT BATTALION OF THE DONGJIANG COLUMN (until 23rd October 2013)
On December 8th, 1941, Japanese fighter planes launched a surprise attack on Kai Tak Airport while Japanese troops invaded Hong Kong. The then Governor, Sir Mark Young, surrendered on December 25th, and Hong Kong entered a dark period lasting three years and eight months. However, both before and during the Japanese occupation of Hong Kong, a local guerrilla force, namely the Hong Kong Independent Battalion of the Dongjiang Column, actively and persistently undertook anti-Japanese campaigns and made a great contribution to the war effort.
To commemorate the 71st anniversary of the founding of the Hong Kong Independent Battalion of the Dongjiang Column this year, the Leisure and Cultural Services Department and Guangdong Museum of Revolutionary History are jointly presenting an exhibition titled "Anti-Japanese War Heroes - An Exhibition on the Hong Kong Independent Battalion of the Dongjiang Column". On display at the Hong Kong Museum of Coastal Defence from 26th April 2013 until 23rd October 2013, the exhibition features some 60 historic artefacts and pictures, enabling visitors to learn about the history of this local battalion and its contribution to defending the homeland.
When faced with the Japanese attack, many volunteers came forth to participate in anti-Japanese activities. The 3rd and 5th Companies of the Guangdong People's Anti-Japanese Guerrilla Force, the precursor to the Dongjiang Column, were sent to Hong Kong and launched guerrilla attacks against the Japanese in the New Territories and Kowloon. At the same time, the guerrilla forces called for local volunteers to help defend the country.
On February 3rd 1942, the Hong Kong Independent Battalion of the Guangdong People's Anti-Japanese Guerrilla Force, which included many volunteers and young intellectuals, declared its establishment in the chapel at Wong Mo Ying Sai Kung (now Rosary Mission Church). Tsoi Kwok-leung became captain of the Battalion, leading the near 1 000-strong force. On December 2nd 1943, the Central Committee of the Communist Party formally proclaimed the founding of the Dongjiang Column of the Guangdong People's Anti-Japanese Guerrilla Force. Tsang Sang was made Commander and Lin Ping (Yin Linping) became Political Commissar. The Hong Kong Independent Battalion thus became an official sub-unit of the Dongjiang Column - an armed force that doggedly resisted the Japanese army in Hong Kong.
In addition to fighting the Japanese, the battalion also shouldered responsibility for rescuing important persons trapped in Hong Kong and protected them from being captured by the Japanese. Twelve rescue routes were involved in such operations, which eventually delivered more than 800 people to safety outside Hong Kong. These included He Xiangning, Liao Chengzhi, Liu Yazi, Zou Taofen, Mao Dun, Situ Huimin, Tang Man-chiu and many more.
Allied soldiers were also rescued, such as the American pilot Lieutenant Donald W Kerr. Additionally, the guerrillas helped the British Army Aid Group (BAAG) and supported each other by providing intelligence information.
In commemoration, local people erected the Monuments for Martyrs Against Japanese Militarism in Wu Kau Tang, Tai Po and Sai Kung, paying homage to the great contribution made by the battalion, as well as organising remembrance ceremonies and related events. In 1998, the former Chief Executive, Mr Tung Chee Hwa placed a Dongjiang Column Roll of Honour in the memorial shrine at Hong Kong City Hall for the public to pay their respects, and to recognise the battalion's important place in Hong Kong history. The shrine also enables the younger generations to learn more about these soldiers, who sacrificed their lives in defence of Hong Kong.
The exhibition depicts the history of the battalion and includes many touching stories about the guerrillas. Many artefacts on display are closely related to the battalion, including weapons and daily items used by the guerrillas during the war.
Hong Kong Museum of Coastal Defence is located at 175 Tung Hei Road, Shau Kei Wan, Hong Kong. It is open from 10am to 6pm and is closed on Thursdays (except public holidays and closes at 5pm in October). Admission is HK$10 and half-price concessions are applicable to full-time Hong Kong students, people with disabilities and senior citizens aged 60 or above. Group admission fee is HK$7, applicable to every purchase of 20 tickets or more. Admission is free on Wednesdays. Website;
http://hk.coastaldefence.museum
GOLDEN HARVEST: A LANDMARK IN HONG KONG CINEMA (until 14th July 2013)
The logo of Golden Harvest, which consisted of four red blocks forming the letter "G", became a symbol of the heyday of Hong Kong's film and entertainment industry from the 1970s to the 1990s. Golden Harvest contributed as a pioneering film studio for more than 30 years. Its founders, Mr Raymond Chow, Mr Leonard Ho and Mr T K Leung, with their vision, persistence and some luck, attracted and nurtured talents with a flexible business strategy, and the studio not only produced film trends in multiple genres and was a local distributor, but also expanded its distribution network worldwide and produced Western films, taking Hong Kong cinema to the world arena. Golden Harvest was not merely a success story of entrepreneurship, but a modern legend.
As a contribution to the 37th Hong Kong International Film Festival (HKIFF), Hong Kong Film Archive (HKFA) has organised a retrospective on Golden Harvest. From 23rd March 2013 until 14th July 2013, the HKFA's new exhibition "Golden Harvest: A Landmark in Hong Kong Cinema" sees the Exhibition Hall of the HKFA turned into a Golden Harvest cinema showcasing sets of some classic scenes, together with photos, posters and magazines, to offer an overview of Golden Harvest's development. Admission is free.
The rise of Golden Harvest was a product of its time, locality and human factors. The three co-founders were all former major executives in the Shaw Brothers studio, and, when establishing Golden Harvest in the 1970s, each had their individual roles and complemented each other. A diplomat, publicity genius and super agent in promoting new talents, Mr Raymond Chow looked after the studio's external and overseas affairs. Mr Leonard Ho, with his excellent people management, was considered a mentor by many artists like Jackie Chan, John Woo and Sammo Hung. An experienced journalist, Mr T K Leung oversaw distribution and publicity for the studio.
From its birth to the time it became the main pillar of the film industry, the studio had the flexibility to move with changing times. It ushered in trends in multiple film genres from the swordsman and wuxia films at the initial stage and the instant sensation of superstar Bruce Lee, which drove Golden Harvest into overseas markets, to the situation comedy of Michael Hui, which became a major box office draw and played a significant role in popular culture.
With a flexible operation strategy to outsource production, Golden Harvest encouraged independent production in the form of satellite branches and profit-sharing models, thus attracting talents and raising the quality of products while counteracting the studio's limitations on capital. Golden Harvest produced and financed over 600 films covering an assortment of genres, ranging from action and comedy to artistic films. The company nurtured a number of international superstars and directors such as Bruce Lee, John Woo, Wang Yu, Michael Hui, Jackie Chan, Sammo Hung and others. It sustained the market and the industry with new talents and constant productions, leading to a flourishing scene in Hong Kong cinema in the 1980s. Having established a strong distribution network, Golden Harvest ran its own cinema chain and enhanced collaboration with Western film companies, as well as promoted Hong Kong cinema overseas. It produced almost 20 Western films, taking the company to the international stage with remarkable success.
The "Golden Harvest: A Landmark in Hong Kong Cinema" exhibition remakes a Golden Harvest cinema with different sections, namely "Forever Classics", "The Birth of a Movie Kingdom", "Overseas Harvest", "The Star Factory" and "The Golden Network". Classic scenes of the studio's films and oral history from Raymond Chow, Michael Hui, John Woo, Sammo Hung, Chua Lam, Albert Lee and Louis Sit will be shown to introduce the studio's development and strategies in various areas.
The exhibition will also feature film scenes of Golden Harvest's renowned artists like Bruce Lee, Jackie Chan, Michael Hui, Sammo Hung, Yuen Biao, Angela Mao and Nora Miao to showcase their charms on the screen. In addition, early works and interviews of 16 directors including John Woo, Ching Siu-tung, Sammo Hung, Patrick Tam and Yim Ho will be shown to showcase the blossoming era of Hong Kong cinema in the 1980s.
In addition to the exhibition, the screening programme in the retrospective "The Cinematic Matrix of Golden Harvest" will be held from today to June 30. Sixty-three films including "The Big Boss" (1971), "Fist of Fury" (1972), "The Young Master" (1980), "The Invincible Eight" (1971), "Beach of the War Gods" (1973), "The Himalayan" (1976), "The Private Eyes" (1976), "The Sword" (1980), "A Fishy Story" (1989), "All in the Family" (1975), "Plain Jane to the Rescue" (1982), "The Soong Sisters" (1997), "Summer Snow" (1995), "Teenage Mutant Ninja Turtles" (1990) and "Boys in Company C" (1978) will be shown.
The retrospective is being held with the assistance of Fortune Star Media Limited, enabling the HKFA to access 58 of Golden Harvest's films, with 40 of them having been converted from digitally remastered copies into DCP. Fortune Star has also agreed to the long-term preservation of these screening prints at the HKFA. Seventeen of the titles in the retrospective are being shown in part one during the HKIFF until 1st April, while the second phase of screenings shows 58 films from 4th April to 30th June. All of these screenings will be held at the Cinema of the HKFA.
Tickets for all screenings are now available at URBTIX outlets. Tickets priced at HK$40 with half-price concessionary tickets available for senior citizens aged 60 and above, people with disabilities and their minders, full-time students and Comprehensive Social Security Assistance recipients. Credit card bookings can be made at (852) 2111 5999 and Internet bookings at www.urbtix.hk.
To supplement the screenings and exhibition, four seminars (conducted in Cantonese only) with free admission, will be held at the HKFA. Co-founder of Golden Harvest Mr Raymond Chow will grace the retrospective by talking in the first seminar entitled "The Mastermind Behind: Raymond Chow" at 2-30pm on 23rd March, while four critics, Mr Stephen Teo, Mr Lam Chiu-wing, Mr Thomas Shin and Mr Lau Yam, will talk in the "Genres Explorations of Golden Harvest" seminar at 2-30pm on 30th March. Another seminar will see two senior film company executives, Mr Albert Lee and Ms Winnie Tsang, joining a discussion entitled "International Visions of Golden Harvest" at 2-30pm on 6th April. To drill more into the Hui brothers' achievements in the 1970s, director Michael Hui and critic Mr Thomas Shin will join a seminar entitled "Aspirations of the Hui Brothers" at 4-30pm on 20th April. Post-screening talks are also planned to be hosted by film critics and directors including Yim Ho, Alfred Cheung, Fruit Chan and Mabel Cheung.
In addition, the HKFA's new publication "Golden Harvest: Leading Change in Changing Times", focusing on the characteristics of Golden Harvest productions, priced at HK$140 and with English edition on CD-ROM, will be released in late March.
For detailed information of the film programme see;
http://www.lcsd.gov.hk/ce/CulturalService/filmprog/english/2013gh/2013gh_index.html
Hong Kong Film Archive is located at 50 Lei King Road, Sai Wan Ho on Hong Kong Island. For location map and details of opening hours see;
http://www.lcsd.gov.hk/CE/CulturalService/HKFA/en/1-2.php
A HUNDRED CHINESE PAINTINGS FROM THE HONG KONG MUSEUM OF ART (until 30th October 2013)
Owing to Hong Kong's cultural and geographical proximity to Guangdong, the Hong Kong Museum of Art has made collecting works and artefacts from this region a priority. In its collection of Chinese painting and calligraphy, the Hong Kong Museum of Art houses a great number of Guangdong works and modern Chinese paintings. In order to show the cream of its Chinese painting collection, the Hong Kong Museum of Art is running an exhibition, "A Hundred Chinese Paintings from the Hong Kong Museum of Art", from 22nd March 2013 to 30th October 2013. Through the finely selected 100 Chinese paintings, dating from the late Ming dynasty to the present, the exhibition aims to present a picture of the evolution of Chinese paintings, from the traditional to the modern, and to demonstrate the significance of the museum's collection.
Guangdong painting has experienced various changes and innovations throughout its history, and this evolution has marked its significance in Chinese painting. Since the first acquisition of a landscape painting by Liang Yuwei of the Qing dynasty in 1966, the museum has established a sizeable art collection of more than 5,800 Chinese paintings and calligraphy works dating from the early Ming dynasty to the 21st century through acquisition and generous donations.
To highlight the development of Chinese painting over its history, the exhibition is structured into five sections, each centred on a specific style developed in a particular period. Visitors to the exhibition will be able to learn about the works, unique styles and techniques of the great masters in Chinese painting, such as Zhang Mu, Su Renshan, Ju Chao, Ju Lian, Gao Jianfu, Gao Qifeng, He Qiyuan, Zhao Shao'ang, Yang Shanshen, Qi Baishi, Xu Beihong, Lin Fengmian, Li Keran, Wu Guanzhong, Shi Hu, Hu Yongkai, Lu Fusheng, Li Yanshan, Huang Bore, Zhang Daqian, Huang Yongyu, Ding Yanyong and Lü Shoukun.
Zhang Mu, Li Jian, Liang Yuwei, Su Liupeng and Su Renshan are the early Guangdong artists whose innovation in creation developed a new dimension for Guangdong landscape painting. In later years, the brothers Ju Chao and Ju Lian became the forerunners of the Lingnan school of paintings with their groundbreaking techniques, which marked a milestone in Chinese painting history. Among others, the "Three Masters of the Lingnan School" - Gao Jianfu, Gao Qifeng and Chen Shuren, as well as their students - were a group of pioneers who adopted Western perspective in traditional Chinese paintings. In addition, a number of Guangdong painters were members of the Chinese Painting Research Society, including Pan He and Yao Lixiu, who advocated the revitalisation of the Chinese painting tradition and reform of Chinese painting, with their views exerting great impact in art circles at the time.
Since the 20th century, particularly after the founding of the People's Republic of China, contemporary Chinese painting has turned over a new leaf. Artists throughout the country such as Qi Baishi, Huang Binhong, Xu Beihong, Pan Tianshou, Lin Fengmian, Li Keran and Lu Yanshao, as well as some contemporary artists like Wu Guanzhong, all sought to break away from traditional styles of painting under the influence of Western ideas. Either adapting Western techniques, or making innovative moves with reference to traditional methods, these artists have all contributed to the diversity of the painting styles of the time.
After the mid-1980s, the "New Literati Paintings" emerged in the tide of "Cultural Revival". A group of young Chinese painters who had experienced the Cultural Revolution including Shi Hu, Hu Yongkai, Nie Ou and Lu Fusheng developed a unique art scene at the time and the influence still echoes today.
With its special historical background, Hong Kong has been a melting pot of Eastern and Western cultures, which placed a tremendous influence on Chinese painting. After the 1950s, Hong Kong became a meeting place for artists from different parts of China. Those who inherited and preserved the traditions of Guangdong such as Li Yanshan, Huang Bore and followers of the Lingnan school of painting including He Qiyuan, Zhao Shao'ang, Yang Shanshen and others, as well as talented artists like Peng Ximing, Zhang Daqian and Huang Yongyu. Meanwhile, artists like Ding Yanyong, Lü Shoukun and Liu Guosong have created their accomplished personal styles with the urbanisation of Hong Kong, and also gave rise to the New Ink Painting Movement.
Visitors to this exhibition are able to explore the evolution of Chinese painting and trace its history.
Hong Kong Museum of Art is located at 10 Salisbury Road, Tsim Sha Tsui, Kowloon. It is open from 10am to 6pm on weekdays and from 10am to 7pm on Saturdays, Sundays and public holidays. The museum is closed on Thursdays (except public holidays). Admission is HK$10 and a half-price concession is available to full-time students, senior citizens and people with disabilities. Admission is free on Wednesdays.
CROSSING THE HARBOUR: AN EXHIBITION OF ARCHIVAL HOLDINGS ON THE DEVELOPMENT OF CROSS-HARBOUR TRANSPORT (expected to run until December 2013)
The Public Records Office (PRO) of the Hong Kong Government Records Service (GRS) is presenting "Crossing the Harbour: An exhibition of archival holdings on the development of cross-harbour transport" on the second floor of the Exhibition Hall of the Hong Kong Public Records Building, 13 Tsui Ping Road, Kwun Tong, Kowloon. The exhibition will be on display to the public from 17th December 2012 and is expected to run for about twelve months. Admission is free.
Crossing the harbour today for work or social gatherings seems to be part of a daily routine, to which Hong Kongers give little thought. There are many convenient ways to make the crossing, whether above or below the water. But in the 19th and early 20th centuries the only options were by boat or ferry. It was not until the 1970s that people could enjoy the convenience of the Cross Harbour Tunnel, and later of the other tunnels and the Mass Transit Railway (MTR).
This exhibition uses archival records, photographs, maps, plans and films kept in the PRO of the GRS to give you snapshots of the development of cross-harbour transport between 1860s and 1970s. Through the display of about 50 exhibits with the use of archival records, photographs, maps, plans and videos, it reviews the development of Kowloon Peninsula, the demand for cross harbour transportation and the development of cross-harbour transport from 1860s to 1970s. The exhibition displays some valuable holdings including a lease and map of Kowloon Peninsula and Stonecutters Island, a layout plan of the proposed design of the cross-harbour bridge, a plan of proposed routes of MTR, and more.
The Hong Kong Vehicular Ferry Pier, 1959
To complement the onsite exhibition, an online Reference Resource Page has been developed. It consists of three parts, namely Timeline, Image Gallery and Reference List. These are useful education resources for studying subjects such as liberal studies, history and civic education. Further information and the Resources Reference Page can be accessed at;
http://www.grs.gov.hk/ws/online/cross_harbour/index.html
Guided tours for group visits will be provided on a request basis. For information regarding reservations for the guided tour or about the exhibition, please contact Mr Bernard Hui, Senior Assistant Archivist of the PRO of the GRS (Tel : 852 2195 7728).
20/20: SPECIAL EXHIBITION FOR THE TWENTIETH ANNIVERSARY OF XUBAIZHEI GALLERY (until 30th September 2013)
This year marks the 20th anniversary of the inauguration of the Xubaizhai Gallery of the Hong Kong Museum of Art. To commemorate Low Chuck-tiew's munificent gesture in donating his considerable collection - the Xubaizhai Collection - to a public museum as part of its permanent collection, the Hong Kong Museum of Art has selected representative works by 20 great masters from the collection for exhibition, offering the public an opportunity to appreciate these fabulous works while also promoting the art of Chinese painting and calligraphy.
Entitled "20/20: Special Exhibition for the Twentieth Anniversary of Xubaizhai Gallery", the exhibition runs from 26th September 2012 until 30th September 2013 at the Hong Kong Museum of Art. The exhibition features 34 works by great masters, including "The pagoda of Changgan Monastery" by Shitao, "Landscapes after old masters" by Wang Hui, "Landscapes and calligraphy in running script" by Dong Qichang, "Cooling off the hot summer" by Wen Zhengming, "Landscape after Wang Fu" by Hongren, "Farewell by a stream at the end of the year" by Shen Zhou, "Returning home with a qin" by Tang Yin, and "Landscape in the style of Huang Gongwang" by Wang Shimin. A painting by Low is also on display. Visitors will not only be able to view various artworks alongside historical records of their circulation, but will also get a glimpse of Low's preferences and connoisseurship as a collector.
"The pagoda of Changgan Monastery" by Shitao, currently on display at the "20/20: Special Exhibition for the Twentieth Anniversary of Xubaizhai Gallery"
Hong Kong played an important role in the art market during the mid-20th century, a period when important historical and political changes were taking place within China. Artefacts from all parts of the Mainland found their way to Hong Kong for sale, offering golden opportunities for private collectors. Among them was Low, a Singaporean Chinese who established the Xubaizhai Collection of Chinese Painting and Calligraphy.
The Xubaizhai Collection includes over 600 Chinese painting and calligraphy pieces encompassing work dating from the Northern Dynasties (386–581) through to the 20th century, and is particularly strong in works by masters of the major schools of the Ming (1368–1644) and Qing (1644–1911) dynasties. In the 1970s and 80s, many international scholars, connoisseurs and museum professionals were drawn to appreciate the collection, making for a considerable cultural phenomenon in Hong Kong at that time. After years of planning, Low decided to donate his Xubaizhai Collection to the Hong Kong Museum of Art, a move that attracted great attention in the international art circle. In tribute, the museum built the Xubaizhai Gallery to exhibit a rotating permanent display of this remarkable collection. The gallery was officially opened on 26th September 1992. Since then, the museum has regularly organised thematic exhibitions to promote appreciation of Chinese painting and calligraphy.
The selected works featured at this exhibition all have their own story, including "The pagoda of Changgan Monastery" by Shitao, which Low probably regarded as the most significant item in the Xubaizhai Collection. During the difficult days of World War II, Low bought this painting from a Singaporean merchant, Choo Kwok Leong, for 2,800 British Settlement dollars. In an Allied air raid during the later years of the war, Low's residence was engulfed in flames and Low risked his life to save the painting from being burnt to ashes. This was to be the only surviving item of Low's early collection. Having travelled from Singapore to Hong Kong, "The pagoda of Changgan Monastery" not only serves as a cornerstone of the Xubaizhai Collection, but is also a witness to the century-long diasporic history of revered works of Chinese painting and calligraphy.
"Landscapes after old masters" by Wang Hui
The "Landscape after Wang Fu", a landscape fan painted by Hongren, has been called "the thousand-dollar fan". This painting caught the attention of a cultural celebrity, Huang Miaozi, when he saw Low's collection in the 1980s. In the early years of Republican China, someone was said to have spent 1,000 da yang (silver coin) to acquire the painting, thus earning it the nickname of "the thousand-dollar fan" among connoisseurs in Guangdong. It is not known who the purchaser may have been, but the painting was eventually acquired for the Xubaizhai Collection, and visitors now have a valuable opportunity to view it at the exhibition.
Low once studied painting under Huang Binhong when he was in Shanghai. Under the Huang's guidance, Low not only developed an interest in connoisseurship and authentication, but also loved to paint. One of Low's works, "Landscapes", is included in the exhibition.
Hong Kong Museum of Art is located at 10 Salisbury Road, Tsim Sha Tsui, Kowloon. It is open from 10am to 6pm from Sunday to Wednesday and Fridays, and from 10am to 8pm on Saturdays. From 1st October 2012 onwards, the museum's opening hours will be changed to 10am to 6pm on weekdays, and 10am to 7pm on Saturdays, Sundays and public holidays. It is closed on Thursdays (except public holidays). Admission is HK$10 and a half-price concession is available for full-time students, senior citizens and people with disabilities. Admission is free on Wednesdays.
For further information see the museum's website;
http://www.lcsd.gov.hk/CE/Museum/Arts/en/exhibitions/exhibitions01_jul12_02.html
FREE AND UNFETTERED: CHINESE PAINTINGS AND CALLIGRAPHY BY AU HO-NIEN (until 17th June 2013)
In the paintings of Professor Au Ho-nien, a key figure of the third generation of the Lingnan school of painting, the impressive world is always transformed into visual feasts.
The creative style of Professor Au in his early years was known for the realistic quality of the Lingnan school of painting, and later he took on spontaneous techniques that depicted nature while giving full expression to the delicacy of lines and the beauty of form. Moreover, his paintings came to possess an air of bold and unrestrained character. With the provision of artworks by Professor Au, who has committed his life to promoting artistic exchanges, the Hong Kong Heritage Museum has organised a large-scale exhibition. Solo exhibitions of Professor Au's art have been rare in Hong Kong over the years, and this exhibition will enable the public to appreciate some of the finest paintings, poetry and calligraphy of the Lingnan school.
Running from 15th September 2012 until 17th June 2013 at Hong Kong Heritage Museum, the "Free and Unfettered: Chinese Paintings and Calligraphy by Au Ho-nien" exhibition features more than 100 works by Professor Au since the 1950s, including landscapes, figures, birds and flowers, insects, fish and animals, and his poetry and calligraphy as well, giving an opportunity for visitors to appreciate the realistic qualities of the artist's works and the strong foundations of his studies of Chinese literature.
Professor Au uses spontaneous style to express a profound and complicated mood. "Tavern in the Countryside", pictured here, was created in 2005. It portrays the artistic conception of the poem "Early Journey on the Shang Mountain", written by the Tang dynasty poet Wen Tingyun, which tells of the hard situation that a traveller has to face when setting off for a journey at dawn
Professor Au is a key figure of the third generation of the Lingnan school of painting who has devoted himself to cultivating the young generation and fostering cultural exchanges between the Mainland and Taiwan. Professor Au showed great artistic promise from a young age. Born in 1935, Au was raised under the guidance of his father to have a great love and respect for Chinese literature and history. In 1950, Au moved with his parents to Hong Kong, where two years later he began to study art under Chao Shao-an. Since then, Professor Au has actively cultivated younger generations. In 1970, he was invited by Dr Chang Chi-yun, the founder of Taiwan's Chinese Culture University, to take up a position as a professor in the Fine Arts Department of the university. Au accepted the offer, and settled in Taipei to start his career as an arts educator and an advocate of the Lingnan school. In 2001 he taught at the Art Institute of the National Taiwan University of Arts, and he has had a great number of disciples through all these years.
"The Grand Canyon", created in 1984. With its aspirations for returning to the depiction of natural reality, the Lingnan school of painting had a great influence on Professor Au's paintings and made him adept in depicting powerful and magnificent landscape views. These paintings are all based on real scenes encountered by Professor Au on his trips to different parts of the world
Sparing no effort to promote the art of the Lingnan school of painting, Professor Au has extensively participated in numerous exhibitions and has left his footprints in China and throughout the world. In addition, he has donated many paintings from his personal collection to the Academia Sinica, including works of the great masters of the Lingnan school of painting such as Gao Jianfu, Gao Qifeng and Chen Shuren, as well as those of other Guangdong modern painters. Moreover, he helped in the establishment of the Lingnan Art Museum with the relevant promotion. The Au Ho-nien Cultural Foundation was established in 2000 and the Au Ho-nien Art Centre was jointly set up with the Chinese Culture University in 2005. All in all he makes it his own duty to promote the works of the Lingnan school of painting.
To give visitors a comprehensive review of Professor Au's works in diverse themes, the exhibition is divided into four sections, which are "Impressive World: Landscape", "Free Leap over a Thousand Miles: Animals and Birds", "Refined Scholar and Elegant Person: Figures and Flowers", and "Moulding a Person's Temperament: Poetry and Calligraphy".
In addition, Hong Kong Heritage Museum has published a 232-page exhibition catalogue for the public to purchase for their collections. Aside from containing photos and descriptions of 108 of Professor Au's works, the catalogue also includes several essays written by two experts and Professor Au. Priced at HK$195, the catalogue is now available at the Hong Kong Heritage Museum's Gift Shop.
Hong Kong Heritage Museum is located at 1 Man Lam Road, Sha Tin. During September 2012, it is open from 10am to 6pm on Mondays and Wednesday to Saturday, and from 10am to 7pm on Sundays and public holidays. Starting from 1st October 2012, the museum will be open from 10am to 6am on weekdays and from 10am to 7pm on Saturdays, Sundays and public holidays. It is closed on Tuesdays (except public holidays). Admission is HK$10 and a half-price concession is available to full-time Hong Kong students, senior citizens and people with disabilities. Admission is free on Wednesdays.
For further details see the museum's website;
http://www.heritagemuseum.gov.hk/eng/exhibitions/exhibition_details.aspx?exid=194
THE HEAVENLY BREEZE: SELECTED WORKS OF GAO QIFENG AND HIS DISCIPLES (until 26th August 2013)
Hong Kong Heritage Museum has launched an exhibition, "The Heavenly Breeze: Selected Works of Gao Qifeng and His Disciples", which features works created by Gao Qifeng, one of the founders of the Lingnan school of painting, and his disciples.
The exhibition, which runs from 18th April 2012 until 26th August 2013, showcases about 30 works selected from the collections of the Hong Kong Heritage Museum and the Hong Kong Museum of Art, as well as the works provided by the family of Chao Shao-an, a disciple of Gao. Featuring Gao and the "Tianfeng Seven", the most outstanding seven disciples of Gao, the exhibition gives visitors a glimpse of the early development of the Lingnan school and the achievements made by Gao and his disciples.
"White Horse", created by Gao Qifeng before 1931. Gao used the quiet and relaxed white horse to convey an attitude of ease
Gao Qifeng had an early start with painting under the tutorship of his elder brother Gao Jianfu. In 1907, the two brothers travelled to Japan to further their study of painting. Gao Qifeng's sojourn in Japan brought him into contact with Western realist paintings and techniques like perspective drawing. The encounter proved to be eye-opening and influential, particularly in shaping his aesthetic principle of "mingling the East and the West, the old and the new". He channelled his creativity through this approach in a way to energise and revolutionise the Lingnan art scene.
Birds, animals, flowers and landscapes are the recurring themes of Gao's works, while colour choice and ink rendering showcase the strengths of the artist's skills. His artistic interpretation remains true to realism and is marked by robust and nimble brushstrokes, which in his later works become increasingly powerful. Stricken with lung problems at a young age, Gao retreated to Ersha Island, Guangzhou, in 1929. He built a new residence there named the Tianfeng (Heavenly Breeze) Studio and continued to paint and discuss art with his disciples. In 1933 he was appointed by the national government as a representative for the Chinese Art Exhibition in Berlin, Germany. He was hit by the chronic illness again when attending the preparation meeting in Shanghai and passed away on November 2, 1933.
"Landscape in Guilin", created by Chao Shao-an in 1945. When he retreated to the southwest during wartime, Chao travelled past Guilin and was stunned by the magnificent landscape. The scenery of Guilin became a lasting inspiration and the subject was repeated in many of his later works after the war
Gao put as much effort as possible into promoting art and thus attracted a number of followers despite his short 45-year life. He taught painting at the Tianfeng Studio, where his most outstanding disciples including Chao Shao-an and six other artists emerged. They became known as the Tianfeng Seven, and their close relationship frequently saw them organise exhibitions and work on paintings together, and they also set up art societies and taught painting to perpetuate their art. There is no denying their influence in developing and promoting the Lingnan school of painting.
The Tianfeng Seven are Zhou Yifeng (1890-1982), Zhang Kunyi (1895-1967), Ye Shaobing (1896-1968), He Qiyuan (1899-1970), Huang Shaoqiang (1901-1942), Rong Shushi (1903-1996) and Chao Shao-an (1905-1998).
Each of the seven disciples excelled in different ways. While Zhou Yifeng was skilled in traditional painting, He Qiyuan was adept at blending the styles of the East and the West. Having a close relationship with Gao, Zhang Kunyi mastered the depiction of flowers and birds in a way to stay truthful to the spirit of Gao's style. Huang Shaoqiang was the best portrait painter and was greatly concerned about the suffering of ordinary people. His paintings are always marked by a strong sense of compassion. Ye Shaobing's strength lay in artistic theory. In comparison with the others, Rong Shushi kept a low profile throughout his life. At the age of 16, Chao Shao-an attended Gao's art studio and it marked the turning point in Chao's artistic path and laid the foundation of his future achievement.
Further details of the exhibition are available on the Hong Kong Heritage Museum website at;
www.heritagemuseum.gov.hk/eng/exhibitions/exhibition_details.aspx?exid=187
Hong Kong Heritage Museum is located at 1 Man Lam Road, Sha Tin. It is open from 10am to 6pm on Mondays and Wednesdays to Saturdays, and from 10am to 7pm on Sundays and public holidays. It is closed on Tuesdays (except public holidays). Admission is HK$10 and a half-price concession is available to full-time Hong Kong students, senior citizens and people with disabilities. Admission is free on Wednesdays.