CURRENT EXHIBITIONS
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LEGENDS OF LUXURY AND ELEGANCE : LIFESTYLES OF THE HAN NOBILITY (until 3rd May 2010)
More than 100 valuable relics unearthed from aristocratic Han tombs at Mawangdui and other historical sites of the ancient Changsha kingdom are on show at the Hong Kong Museum of History from 10th February 2010 until 3rd May 2010. Entitled "Legends of Luxury and Elegance: Lifestyles of the Han Nobility", the exhibition is jointly presented by the Leisure and Cultural Services Department and the Hunan Provincial Museum, and organised by the Hong Kong Museum of History. Featuring a fine selection of bronze vessels, lacquerware, textile products, jade ware and silk books, the exhibition provides a comprehensive insight into the vibrant diversity of Han culture 2,000 years ago from dietary culture and the collection of manuscripts to concepts of well-being and health, fashion and beauty.
The Western and Eastern Han dynasties (206BC - AD220) witnessed a robust economy and rapid development of thought and culture. The workmanship was also sophisticated, which was reflected in the extravagant daily utensils the nobility used. The excavation of the Han tombs in Mawangdui offered exceptional insights into the social life of the early Han. Discovered in the 1970s, the Han tombs at Mawangdui are among China's most important archaeological discoveries of the 20th century. The relics provide a wealth of resources for research into the material civilisation and artistic development of the Han dynasty.
The two-tiered lacquer cosmetic box with nine small trays unearthed from Xin Zhui's tomb (see below) is an example of the fashionable vanity tools used by Han noblewomen. This set of boxes would have been used to store cosmetics and cosmetic tools. The box consists of three parts - a lid and two tiers. Nine small trays were found in the chiselled slots of the bottom tier and they contained cosmetics, rouge, silk powder pads, a comb, a fine-toothed comb and a needle case.
In 202BC, Liu Bang (the first Han emperor) named Wu Rui the first king of Changsha and bestowed upon him land that extended over Changsha, Yuzhang, Xiangjun, Guilin and Nanhai. Linxiang (the present-day city of Changsha) was chosen as the kingdom's capital. After his death Wu Rui was succeeded by Wu Chen, Wu Hui and Wu You among others. Li Cang was appointed by the imperial Han court as the prime minister of the Changsha kingdom to assist the kings. The three Western Han tombs discovered in Mawangdui between 1972 and 1974 were occupied by members of Li Cang's family including Li Cang (Marquis of Dai) himself, his wife Xin Zhui and their son. The arrangement and layout of burial objects in the marquis' tomb not only point to the exceptional wealth of the Han nobility and their indulgence in luxurious material enjoyment but also embody how the Han people envisaged life after death. As agriculture developed and industry and commerce flourished during the Han dynasty its food culture was characterised by a wide variety of ingredients, an abundance of food types, exquisitely crafted utensils and sophisticated cooking methods in a diversity that was unprecedented in Chinese history. Lacquer craftsmanship had undergone rapid development since the Western Zhou dynasty (c.11th c-771BC), and lacquerware gradually replaced bronze vessels as the preferred dining vessels of the Han nobility. A lacquer dish painted with a cat pattern, a lacquer tray with a cloud pattern and a painted lacquer cosmetic box unearthed from Mawangdui are just a few examples of the delicately crafted lacquerware of the period. The inventory of burial objects lists popular dishes of the time, while the abundance of fruit, cakes and meat discovered reveal that the Han people had a particular preference for fresh seasonal foods. Fascination with and belief in immortality were prevalent during the Qin dynasty (221-207BC) and continued into the Han period. The nobility were preoccupied with their health and, with no little encouragement from alchemists, personal well-being became a popular trend among all walks of life. The pottery incense burner unearthed from the tomb of Xin Zhui contains fragrant reed and galangal, confirming that the Han people burned herbs to sanitise their homes. The silk book "Yangsheng Fang" (Prescriptions on Maintaining Health) and the bamboo book "He Yinyang" (Harmony of "Yin" and "Yang" ) address issues of pursuing good health through sex, while the silk book "Daoyin Tu" (Physical Exercise Chart) marks the beginning of the meditative and breathing exercises of "qigong".
The Han people quested for long life. However, when they did come to the end of their life they wished that their glories could transcend death and that their wishes left unfulfilled on earth could be realised in the after-world. The burial objects and layout of the noble tombs at Mawangdui and of the royal tombs of the Changsha kingdom exemplify the Han people's belief that death was a continuation of life. A T-shaped painting on silk unearthed from Mawangdui portrays death set against the universe and conveys a desire for resurrection; the silk painting "Chema Yizhang Tu" (Drawing of the Guard of Honour) depicts a grand excursion in which the tomb occupant is escorted by carriages, horses and a guard of honour. A lacquer coffin with a painted heavenly pattern shielded the tomb occupant from the din of the earthly world. Burial objects such as painted wooden figurines, wooden replicas of ivory tusks, clay "yincheng" and "jinbing" (gold currency) replicas were placed in the tombs for the occupants to enjoy in the afterlife, and they help viewers visualise scenes of affluence at the mansion of the Marquis of Dai. The clothes worn by the aristocracy reflected the Han people's aesthetic values and fashion culture. The year-round wardrobe unearthed from Xin Zhui's tomb contains large quantities of silk and gauze that have stood the test of time and remain amazingly colourful and charming despite being more than 2,000 years old. The lacquer cosmetic box with nine small trays, the wooden comb and the fine-toothed wooden comb also found in the tomb are examples of the fashionable vanity tools used by Han noblewomen. The openwork jade tablet with an animal pattern and the jade "bi" disc carved with three phoenixes and a hexagonal pattern discovered in other archaeological sites exemplify the exceptional jade crafting techniques developed in the Han dynasty.
The remains of Xin Zhui, the Marquise of Dai, were discovered in the inner coffin in Tomb 1 at Mawangdui. At the time it was discovered the body was 1.54 metres tall and weighed 34.3 kg. After more than 2,100 years in her underground tomb the Marquise's body was very well preserved and even retained a certain degree of moisture. The soft tissue under the skin was still tender and elastic and the joints were relatively mobile. The condition of her corpse is virtually unparallelled in the history of preservation. Pictured is a figure of Xin Zhui.
The private scholarship that had flourished during the Spring and Autumn and Warring States Periods (770-476BC) all but died out during the Qin dynasty when Emperor Qin tried to exert control over people's thoughts by "burning the books and burying the scholars". However, a large number of silk and bamboo books have been discovered in the Han tombs at Mawangdui, reflecting the emphasis on literacy in this period and the developing trend among the Han nobility to own private libraries. The collections in the tombs cover a broad spectrum of scholarship, including philosophy, history, astronomy, calendar, geography, military affairs, medicine and fortune-telling, revealing the many interests of the tomb occupants and the value they placed on their literary acquisitions. The contents of the silk books also reveal the thriving academia of the early Han, which nurtured multiple schools of thought. The topics include "Zhouyi" (The Book of Changes), a history of the Spring and Autumn Period, a study of Huang-Lao thought, as well as books on astrology and fortune-telling, medicine and prescriptions, health, ritual healing and horse-judging.
The Museum of History is located at 100 Chatham Road South, Tsim Sha Tsui, Kowloon. It opens from 10am to 6pm from Monday to Saturday and from 10am to 7pm on Sundays and public holidays. On Chinese New Year's Eve it closes at 5pm. It is closed on Tuesdays (except public holidays) and the first two days of the Chinese New Year. Admission for the museum is HK$10 and a half-price concession is available to senior citizens and people with disabilities. Admission is free on Wednesdays.
A CREATIVE JOURNEY WITH LUNG KONG (forthcoming exhibition from 19th March 2010 to 16th May 2010)
This is a free exhibition being held at the Exhibition Hall of Hong Kong Film Archive (HKFA) to complement "Hong Kong Auteur, Lung Kong", a series of screenings of films directed by Patrick Lung Kong as a contribution to the 34th Hong Kong International Film Festival (HKIFF).
Lung Kong started his film career in the 1950s as an actor of the Shaws Studio in the 1950s. He learnt directing from veterans Chow Sze-luk and Chun Kim. He was dedicated to elevating Cantonese cinema to new levels by pushing the envelope of Hong Kong film practice. He made films that tackled explosive subject matters, courting controversy with unflinching fervor. When works of this nature failed at the box office, he came up with a "one-in-three" strategy, directing three films of commercial appeal for every one of personal vision to make sure that his investors would enjoy profit from their ventures. Lung is a director of strong personal vision, expressing highly opinionated views and telling stories with sensational treatment. He cared deeply about Hong Kong, addressing in his films such social issues as rehabilitation of ex-convicts, career criminals, juvenile delinquency and prostitution. He championed an active institutional role in dealing with these social issues at a time when such an idea was as novel as it is commonplace today.
He never ceased to pursue new ways of filmmaking, experimenting on camera works and editing techniques. While not addressing social issues, he would venture into new territory like the erotic desire of young women or introducing concepts of dream interpretation and suppressed memories. Before directing his own films, Lung served as the assistant producer and assistant director respectively on Chun Kim's "The Big Circus" and the melodrama "Pink Tears" starring Julie Yeh Feng. He co-wrote the script of "Mimi-Private Eye" with Jeanette Lin Tsui playing a teenage detective.
A selection of 15 titles of Lung's works together with three reference films will be shown in 16 screenings during the HKIFF from March 19 to April 6 and in 15 screenings from April 16 to May 8. All films will be screened at the Cinema of the HKFA.
The selected films are his work for director Chun Kim in "The Big Circus" (1964), "Pink Tears" (1965) and "Mimi-Private Eye" (1965); his directorial debut Prince of Broadcasters" (1966), his celebrated titles "Story of a Discharged Prisoner" (1967), "Teddy Girls" (1969), the highly controversial "Yesterday Today Tomorrow" (1970) and "Hiroshima 28" (1974), feminine-based "The Call Girls" (1973) and "My Beloved" (1971), melodrama "Pei Shih" (1972) and touching love stories "The Window" (1968), "Mitra" (1977) which was shot in Iran and sci-fi "Laugh In" (1976); his being the producer for director Patrick Tam's "Love Massacre" (1981) as well as reference films from three directors: John Woo's "A Better Tomorrow" (1986), Chor Yuen's "The Joys and Sorrows of Youth" (1969) and Derek Yee's "The Lunatics" (1986). All films except "The Lunatics" have English sub-titles.
Full details of the programme are available here;
http://www.lcsd.gov.hk/CE/CulturalService/filmprog/english/programmes.html
Hong Kong Film Archive is located at 50 Lei King Road, Sai Wan Ho. When exhibitions are taking place the Exhibition Hall is open from 10am until 8pm daily (except Thursdays - closed)
A still from Lung Kong's "Teddy Girls" (1969)
NEW VISION : NEW COLOURS (until 25th April 2010)
Hong Kong Museum of Art is holding an exhibition entitled "New Vision: New Colours", from 5th February 2010 to 25th April 2010. The exhibition features 13 artworks selected from the collection of the Museum of Art and recent works by local artists and attempts to explore through new perspectives the new colour of the world. Artists participating in the exhibition are: Jaffa Lam Laam, Luke Ching Chin-wai, Leung Chi-wo, Almond Chu, Lam Tung-pang, Chu Hing-wah, Choi Yan-chi, Simon Chau, Kung Chi-shing, Tim Li, Kacey Wong, and Kingsley Ng.
Exhibits include the photograph series "Artificial Landscapes Series" by Almond Chu which captures images of the man-made structures that "transformed" the natural landscape in Hong Kong, scenes of landfills, water tanks and recycling centres under a bright blue sky that provoke reflections.
"Global Warming" is a manifestation of Lam Tung-pang's concern for climate change. The image of glaciers slowly thawing by candlelight invites visitors to reflect on global warming and its possible impact on the next generation.
Chu Hing-wah shares his memories of a beautiful childhood, despite its difficulties, in "My Days in Temple Street". His work is representative of Hong Kong people's shared aspirations to reminisce about a collective memory of the past.
Choi Yan-chi's installation artwork presents a beautified and revitalised Kai Tak Nullah, bringing along an aspired view that urban development can introduce positive transformation to city dwellers and the world.
Kingsley Ng introduces his work in a symbolism by distilling the seawater of Kwun Tong and separating it into salt and water. "Distilling Kwun Tong" depicts the transformation of Kwun Tong - beginning at its current status as a shopping hotspot, going back to the days when it was known as an industrial district with polluted water, then further traces its early origin as a salt field. The story of Kwun Tong comes alive in this time-shifting narrative.
Through "Famiglia Grande", Kacey Wong presents a set of folding beds with race car design, symbolising his goodwill in providing transient refuge for those driven to the streets by the financial crisis while raising questions about the quality of life of the homeless.
Tim Li re-created the "Hanging Garden" by nylon folding beds that he made together with 10 residents of Sham Shui Po in 2007, and named his latest work "Unfolding the Possible II". This time the work was created under the idea of community involvement.
Leung Chi-wo drew inspiration from a small alley in a Chinatown in Australia, where he discerned the footprints of Hong Kong immigrants, and created "The Great Development of Smythe Kangaroo Island".
Luke Ching presents' Easy To Learn Cantonese Chapter I: Ou Oi Lei (I Love You)' in vernacular Cantonese. By conveying the inanity in modern dialogues he invites the visitors to rethink the true meaning of the words.
Revitalisation in the soul is also a subject matter of the exhibition. Jaffa Lam's "To Someone Who Wants to Fly", Kung Chi-shing's "Wavelengths (450-570 nm)" and Simon Chau's "Reflections" all address this issue.
The Museum of Art is located at 10 Salisbury Road, Tsim Sha Tsui, Kowloon. It opens from 10am to 6pm from Sunday to Wednesday and Fridays, and from 10am to 8pm on Saturdays. On Chinese New Year's Eve, the museum will close at 5pm. It is closed on Thursdays (except public holidays) and the first two days of Chinese New Year. Admission is HK$10 and a half-price concession is available for senior citizens and people with disabilities. Admission is free on Wednesdays.
DISCOVERING HONG KONG'S CULTURAL TRADITIONS (until end 2010)
Visitors who leave Hong Kong from Hong Kong International Airport from February 2010 are be able to get a glimpse of the city's cultural heritage before they leave. The spectacular display of colourful artefacts includes lanterns, embroidered canopy, placard leading the fire dragon, mooncake box, and the head of dragon boat. The exhibition, entitled "Discovering Hong Kong's Cultural Traditions", presented by the Leisure and Cultural Services Department (LCSD) and the Airport Authority Hong Kong is on display near Gate 35 on the departure level in Terminal 1. Twenty-four colourful exhibits on display were carefully selected to enhance visitors' understanding of the traditional Chinese festivals and customs in Hong Kong, such as the Lunar New Year, Ta Chiu Festival (festival of peace and renewal), Tin Hau Festival, the fire dragon dance of Mid-Autumn Festival, Dragon Boat Festival, Bun Festival and Cantonese opera. The exhibition, which will run until the end of 2010, is expected to attract more than 500,000 visitors.
Departing passengers may access the exhibition at Gate 35 via the automated walkway along the Central Concourse or by the Automated People Mover (APM). Being a world cosmopolitan city Hong Kong embraces a unique identity blending Chinese and Western cultures. Hong Kong International Airport which is acclaimed as a world-class airport receiving more than 100,000 air passengers a day provides an ideal venue for cultural exchanges and plays a vital role in the promotion of local culture. LCSD first collaborated with Airport Authority in 2001 to stage a pilot exhibition entitled "A Glimpse of Hong Kong's Heritage" which featured 39 exhibits at the Departures Hall and Arrival Hall in the Passenger Terminal Building. The collaboration proved to be a resounding success. The subsequent thematic exhibitions, "Formal Dialogue - Sculptures by Hong Kong Masters", "Glamour of Earth - Contemporary Hong Kong Ceramics" and "Rhyme of White" were also well received. Focusing primarily on how the territory's local communities maintain the folk culture of traditional festivities in their own unique ways, the current exhibition showcases Hong Kong's colourful intangible cultural heritage.
Twenty-four colourful exhibits are on display near Gate 35 on the departure level in Terminal 1 of the airportESCAPE FROM HONG KONG - THE ROAD TO WAICHOW (until 31st December 2011)
The daring Christmas Day escape from Japanese-occupied Hong Kong by a one-legged Chinese Admiral escorted by a large and colourful group of British intelligence officers and sailors is the subject of a new exhibition at the Hong Kong Museum of Coastal Defence. The two-year exhibition, entitled "Escape from Hong Kong - the Road to Waichow", jointly presented by the Hong Kong Leisure and Cultural Services Department and the Hong Kong Escape Re-enactment Organisation (HERO), formed earlier in 2009 by descendants of the original escape party, will run at the museum from 25th December 2009 to 31st December 2011.
Chan Chak, a veteran of 1911 Revolution, was China's top representative in Hong Kong when the Japanese, who had been waging war on China since 1937, launched their long-expected attack on the British colony on 8th December 1941. Officially he ran an ordinary trading company based on the second floor of the Asiatic Petroleum Company Building, or Shell House, Queens Road, Central. However in fact he had been liaising with British police and intelligence, carrying out undercover work against Japan and using both legal and illegal means to ensure China remained supplied with fuel and other essential materials despite the Japanese trade embargo. As it became clear the battle was lost the British authorities made arrangements to help ensure that Chan Chak and his staff did not fall into enemy hands. A three-man commando group was ordered to prepare an escape plan involving a daring last-minute getaway on Motor Torpedo Boats. Leaving Aberdeen under heavy gunfire within hours of the colony's surrender in 1941, the escape party sailed by night to Mirs Bay in a flotilla of motor torpedo boats. Helped by Chinese guerrillas and villagers they walked for four days across rough country frequented by bandits and Japanese patrols to a heroes’ welcome in Waichow (Huizhou), about 75 miles away and the nearest town held by the Nationalist Government. The main group of almost 50 Royal Navy sailors continued their journey by river, road and rail across China to Burma finally reaching Britain five months later.
The exact route taken by the escapers was kept secret for many years but many of those who took part left diaries or letters, some of which only came to light recently after they died. These personal written accounts and maps of their remarkable journey together with photographs, medals, uniforms and other mementoes have now been brought together for the first time for exhibition in Hong Kong. Other highlights in the exhibition are the bullet with which Chan Chak was shot in the wrist during the escape and the working model of MTB07, one of the flotilla which took part to stop the Japanese crossing the harbour and sail the escape party.
The exhibition features a series of audio recordings telling the dramatic story of the escape through excerpts from diaries and letters written by those who took part and read out now by their direct descendants and a short video documentary featuring interviews with HERO members.
The opening ceremony of the exhibition at the museum's spectacular cliff-top site in Shau Kei Wan was attended by more than 100 members of HERO, who had gathered in Hong Kong to mark the 68th anniversary of the escape and retrace part of the route taken by their forefathers. They also hope to establish a series of walks linked by permanent markers along the original route taken by the escapers and guerrillas between Nan’ao and Waichow in the last days of 1941.
Hong Kong Museum of Coastal Defence is located at 175 Tung Hei Road, Shau Kei Wan, Hong Kong. It opens from 10am to 5pm. It is closed on Thursdays (except public holidays) and the first two days of Chinese New Year. Admission is HK$10 and half-price concessions are applicable to senior citizens aged 60 or above. Admission is free on Wednesdays.
A group photo of the escapees in Waichow, 1941
SPLENDOUR OF CANTONESE OPERA : MASTERS TONG TIK SANG AND YAM KIM FAI EXHIBITION (until 27th September 2010)
Tong Tik-sang and Yam Kim Fai are two names that have long been revered by Cantonese opera fans. For those who want to admire the touching plots from Tong, or recollect the vivid role portrayals by Yam who is known as "Opera Fans' Lover", or even to sing with Yam and other Cantonese opera artists the famous songs written by Tong, "Splendour of Cantonese Opera: Masters Tong Tik Sang and Yam Kim Fai" exhibition will be of interest. The year 2009 marks the 50th anniversary of Tong Tik-sang's death and the 20th anniversary of Yam Kim Fai. Hong Kong Heritage Museum presents this exhibition which features more than 300 valuable artifacts including Cantonese opera librettos, postbills, special issues, photos, calligraphies, drawings and costumes to pay tribute to and to demonstrate the lives and creativity of these two masters of Hong Kong Cantonese opera genre in the 20th century. The exhibition runs from 20th December 2009 to 27th September 2010.
Banquets and parties were frequent in Canton's Hong merchants of the 19th century. Grand soirees were usually completed with treats including fireworks and Cantonese opera. The painting shows the wealthy host who set up a large stage for Cantonese Opera in his private residence, with guests seated to view from a raised platform
Tong Tik-sang (1917-1959) is widely regarded as the greatest playwright to have graced the world of Cantonese opera in 20th century Hong Kong. In a career that was cut tragically short he wrote more than 400 scripts, many of which are noted for their rhetoric and in-depth depictions of the emotional lives of the characters. Tong had a talent for composing tailor-made scripts to cater for the unique styles of individual opera stars. For example, he wrote "A Forsaken Woman", "The Story of Tung Siu Yuen" and "Snow in June" for famous artist Fong Yim Fun to play characters suffering great misery and sorrow because her vocal style characterised as heavy nasal tones and a sweet but sad voice. Another opera star, Pak Suet Sin, was recognised as eloquent and excellent in recitation so Tong wrote plays such as "Red Strawberry and Broken Heart" and "Triennial Mourning on the Bridge" which featured a great deal of "kou bai" (narration) and "siu kuk" (fixed tunes) to enable Pak's talents to shine. Tong was also committed to integrating the artistic elements and aesthetic spirit of Beijing opera and "Kun" opera into Cantonese opera. He adapted numerous classical literary works including "The Dream in the Peony Pavilion", "Butterfly and Red Pear Blossom", "The Legend of Purple Hairpin" and "The Regeneration in the Red-Plum Chamber". Noted for their profound, beautiful melodies and rhetoric, these works not only have raised Cantonese opera to an even higher artistic level but also left a great treasure to later generations. The elegant melodies and eloquent language of his lyrics can stir many emotions and memories. Most of his classic scripts were adapted into films, which played an important role in preserving the art of Cantonese opera in Hong Kong.
Yam Kim Fai (1913-1989) started learning Cantonese opera at the age of 14 and took on male roles since then. Later she became an apprentice of Wong Nui Hap, the "female counterpart of Ma Sze Tsang", and learnt the traditional plots, structure and form. In the late 1930s she become the principal performer in a number of troupes including the Mui Fa Ying Opera Troupe, the Kwan Fong Yim Ying Opera Troupe, the Kan Fa Yim Ying Opera Troupe, all the while attracting a tremendous following in Guangzhou and Macau. In 1945 Yam followed the San Sing Opera Troupe and presented her first play in Hong Kong, garnering a warm response from audiences. It was soon after this that Yam performed in an opera written by Tong Tik-sang, "White Poplar, Red Tears", an event that marked their first ever co-operation which was followed by the subsequent co-operations with Fong Yim Fun to perform many of Tong's famous play. In 1953 Yam, Pak Suet Sin and Chan Kam Tong established the Hung Wan Opera Troupe which commissioned Tong to pen most of its plays. Over the next few years Yam appeared frequently in a number of famous works by Tong for the Do Bo Opera Troupe and the Lee Wing Wah Opera Troupe. In 1956, Yam and Pak established the Sin Fung Ming Opera Troupe where Yam drew on her skills to play the roles of witty sentimentalists and scholars as portrayed in the scripts of Tong. Now in the prime of her career she attracted a large number of fans who flocked to witness her wide repertoire and outstanding talent. Yam attained a very high level of artistry in Cantonese opera and excelled at vivid portrayals of the classic roles of destitute scholar, witty sentimentalist, naive civilian and military general. Her performances were characterised by her clear and melodious vocal style, clear pronunciation, a bright and piercing gaze, rich and layered emotions as well as her natural and artistic beauty. It is little wonder that she attracted many fans from different generations and was affectionately dubbed the "Opera Fans' Lover".
Several interactive games are set up inside the exhibition. Visitors can listen to the song excerpts written by Tong Tik-sang and sung by Yam Kim Fai or other famous Cantonese opera artists then sing those songs by themselves and listen to their performance. Visitors can also vote for their favourite images of Yam Kim Fai. Several films by Tong Tik-sang, some of which starred Yam Kim Fai, are also screened so that their talents in the fields of Cantonese opera and film can be seen.
Apart from the museum's collection, the exhibition has also put together valuable artefacts on loan from the Yam Kim Fai and Pak Suet Sin Charitable Foundation Limited, Tong's family, Fong Yim Fun, as well as fans of Yam and Pak. Their generosity in providing valuable collections and information has greatly enriched the content of the exhibition. To tie-in with the exhibition, Heritage Museum is producing a set of four postcards featuring Yam Kim Fai for distribution in four phases to visitors with a valid museum pass or an admission ticket. The first postcard is being distributed starting from 20th December while the remaining three will be distributed from 1st March, 17th May and 1st August 2010.
Located at 1 Man Lam Road, Sha Tin, Hong Kong Heritage Museum opens from 10am to 6pm from Monday to Saturday and from 10am to 7pm on Sundays and public holidays. On Christmas Eve and Chinese New Year's Eve it is closed at 5pm. It is closed on Tuesdays (except public holidays) and the first two days of the Chinese New Year. Admission is HK$10, with a half-price concession for senior citizens aged 60 or above. Admission is free on Wednesdays.
BIODIVERSITY IN CHINA - AN EXHIBITION ON CHINA'S WILDLIFE SPECIMENS (until 31st August 2010)
China boasts a vast area with diverse land forms, complex river networks, numerous lakes and extreme climate regimes. It has provided favourable natural conditions for the formation, development and conservation of a variety of biological and ecological systems. More than 30,000 species of plants and 2,700 species of land vertebrates can be found in China. The rich biodiversity in China is revealed to the public in an exhibition at Hong Kong Science Museum from 18th December 2009 until 31st August 2010.
"Biodiversity in China - An Exhibition on China's Wildlife Specimens" featuring more than 400 specimens found in the Yangtze River Basin and western China showcases the rich biological resources and unique ecosystems in China. Many of the specimens are listed as the national Grade I or Grade II protected species. The exhibition is presented by the Hong Kong Government's Leisure and Cultural Services Department and organised by the Hong Kong Science Museum. This is also one of the celebration programmes for the 60th anniversary of the founding of the People's Republic of China.
The Yangtze River is the largest river in China and is also the habitat of many rare wild aquatic animals. Many of the species are endemic to China and listed as the national Grade I or II protected animals, such as the Chinese Sturgeon which is the largestand most ancient fish species in the world. Among all ecosystems in nature, wetlands are considered the most biologically diverse. They are perfect habitats for a wide range of activities including feeding and breeding, and have therefore become havens for birds. China has extensive wetlands that are widely distributed. The wetlands are highly diversified because of differences in the natural conditions in various places. There are a great diversity of wetland birds many species of which are rare and precious, such as the White Stork and the Red-crowned Crane.
Birds living in plateaus and high mountains are distinctively different from those inhabiting wetlands or forests in terms of living habits, appearances and distribution. Plants don't flourish easy at high altitude where the air is relatively thin and dry, and alpine birds are mostly omnivorous, such as the ferocious Golden Eagle and Bearded Vulture.
Famed as "national treasure", the Giant Panda is listed as the national Grade I protected animal and can be found only in China. Today, there are only about 1,590 surviving wild pandas. Their habitat has shrunken to the southern slopes of the Qinling Mountains, Minshan Mountain, Qionglai Mountain, Daxiangling, Xiaoxiangling and Liang Mountains in China. All these places are teeming with wildlife and boast immense biological wealth and diversity.
The Tibetan Plateau, the most expansive in the world, covers nearly 2.4 million square kilometres and is a flourishing kingdom of wildlife, featuring rich biodiversity and bountiful genetic species. Owing to its complex and diversified landscapes, climatic conditions vary drastically with different regions. Animals living here must adapt to these harsh conditions. The Snow Leopard, Bharal, Lynx and Argali are typical yet rare species on the Tibetan Plateau.
"Biodiversity in China - An Exhibition on China's Wildlife Specimens " invites people to explore the rich animal and plant resources in China. The specimens are supplied by the Chongqing Museum of Natural History and displayed according to their classes with appropriate environmental settings to reflect the unique characteristics of various natural habitats in China. This is the first time that wildlife specimens are being exhibited outside mainland China. Visitors will be able to appreciate, in close proximity, the beauty of wildlife from fish, amphibians, reptiles, birds to forest and alpine animals, such as Giant Panda, Leopard, Tiger, Chinese Alligator, Golden Eagle, Golden Snub-nosed Monkey, Takin, Sika Deer, Chinese Pheasant, White Stork, Green Turtle, and Chinese Giant Salamander.
Admission to "Biodiversity in China - An Exhibition on China's Wildlife Specimens" is HK$35 with half-price concession for senior citizens aged 60 or above. "Free Admission on Wednesdays" and the Museum Weekly Pass will not apply to this exhibition.
Hong Kong Science Museum is located at 2 Science Museum Road, Tsim Sha Tsui East, Kowloon. It is open from 1pm to 9pm from Monday to Friday, and from 10am to 9pm on Saturdays, Sundays and public holidays. It is closed at 5pm Chinese New Year's Eve. It is closed on Thursdays (except public holidays) and the first two days of the Chinese New Year. For further details of the exhibition see the Hong Kong Science Museum website;
http://hk.science.museum/eindex.php
One of the exhibits on display is the giant panda, which is endemic to China and regarded as a national treasure. It has a distinctively round, white face with black ears and black markings around its eyes. Its average life expectancy is about 15 years
THE ENCHANTING BRUSH: SELECTED WORKS OF CHINESE PAINTING AND CALLIGRAPHY BY CHAO SHAO-AN FROM THE MUSEUM COLLECTION (until 10th MAY 2010)
More than 50 representative works by the Lingnan master Chao Shao-an selected from the collection of the Hong Kong Heritage Museum, including a number of new items acquired in recent years, are on show at the museum from 28th November 2009 until 10th May 2010. The exhibition, "The Enchanting Brush: Selected Works of Chinese Painting and Calligraphy by Chao Shao-an from the Museum Collection" features his paintings and calligraphy, offering the public an excellent opportunity to understand the artist's achievements and his contribution to the world of art.
When the Heritage Museum was first established, Chao gave it unstinting support by donating several thousand items from his collection including works of Chinese painting and calligraphy, sketch books, seals, poem manuscripts, snap shots, newspaper and magazine clippings, books and video tapes which enabled the museum to develop the Chao Shao-an Gallery and a reconstruction of Chao's Chanyan (Charming Cicadas) Studio inside it. For nearly half a century Chao pursued the art of Chinese painting and gave painting lessons concurrently. His students, such as Ou Haonian, Hu Yuji, Lin Hukui, Zhao Shiguang (1916-2007), Li Rukuang and Wu Yueliu have followed his path and taught Chinese painting in China, Hong Kong, Macau, Taiwan, North America and Canada, nurturing the development of Chinese painting overseas in recent decades. Chao Shao-an (1905–1998) began studying painting with Gao Qifeng (1889-1933), founder of the Tianfeng (Heavenly Wind) Pavilion art studio in Guangzhou when he was 16 and inherited the eclectic concept of embracing east and west, old and new. Among Gao's students, Chao and six others were the most outstanding. Known as the "Tianfeng Seven" these emerging artists were Zhou Yifeng (1890-1982), Zhang Kunyi (1895-1969), Ye Shaobing (1896-1968), He Qiyuan (1899-1970), Huang Shaoqiang (1901-1942), Rong Shushi (1903-1996) and Chao.
With his passion and studious work Chao quickly made a name in the art world. Awarded the International Art Gold Medal at the Belgium Centenary Independence World Fair, Brussels, in 1930 he drew great attention and acclaim. In that same year he founded the Lingnan Art Studio and began teaching painting. From the 1950s, he held exhibitions and gave talks and painting demonstrations abroad. During these trips Chao not only sought inspiration from foreign cultural elements which he incorporated into his artistic works but also expanded the latitude of his landscape painting, and further echoed his determination to develop the art of Chinese painting abroad. After settling in Hong Kong in 1948 Chao re-established the Lingnan Art Studio and organised a number of joint exhibitions with other members of the Tianfeng Studio in the territory. He was also an active organiser of painting associations. During the half century that he called Hong Kong home, Chao built a reputation in the local art community. Chao began to paint his travel impressions painstakingly in the 1950s. The sights of southwestern China where he briefly lived during the war were prime subjects. Such examples are numerous including "Sunset by the River Li" which depicts the Guilin landscape and "Landscape of Sichuan" which depicts the breathtaking Three Gorges. Most of them adopt the theme of the natural landscape at dusk, characterised by a thick evening haze over the columnar hills of Guilin or the sheer cliffs of the Three Gorges, a symbolic imagery that expresses boundlessness and memories of the past. From his global travels Chao learned that the world, vast as it is, offers many visual wonders. Such wonders often appear in his paintings. For example, "Ruins", created in 1954, features the famous Roman Arches and the Colosseum of Italy. Set in a cold misty mood with dark crows, evening twilight and late autumn elements this painting adds a touch of nostalgia to the ancient city. Bird and animal paintings by Chao inherit the Lingnan tradition of portraying wild beasts, including paintings of tigers. "Tiger", created in 1965, expressing both the innocence and ferociousness of the animal exhibits a different taste from the mainstream. Chao also appreciated the beauty of peacocks. "White peacock", painted in 1969, features a white peacock roosting leisurely on a tree. To highlight the peacock's outstanding beauty Chao painstakingly details the delicacy and colour variations of its plumage. The tree trunk in the background is finished in broad brushstrokes to shun details and offset by tonal ink and water that highlight texture. The whole piece perfectly blends the colour accents of Japanese paintings and the brilliant brushwork of Chinese paintings. Another work "In moonlight over the pond" displays Chao's expertise in creating the right mood. The subjects of this painting are a number of sparrows perched on a lotus stem. Huddled in a corner of the deserted and frosted lotus pond they and the environment seem to have become one. Besides painting, Chao also enjoyed calligraphy. Early calligraphic works bear a resemblance to his mentor's style. Later ones reveal that he had developed his individual traits.
Located at 1 Man Lam Road, Sha Tin the Heritage Museum opens from 10am to 6pm from Monday to Saturday and from 10am to 7pm on Sundays and public holidays. On Christmas Eve and Chinese New Year's Eve it will be closed at 5pm. It is closed on Tuesdays (except public holidays) and the first two days of the Chinese New Year. Admission is HK$10, with a half-price concession for senior citizens aged 60 or above. Admission is free on Wednesdays. The Heritage Museum is within three minutes' walk of Che Kung Temple MTR Station on Ma On Shan branch line of East Rail.
Hong Kong Heritage Museum website;
"Tiger", created by Chao Shao-an in 1965, expresses both the innocence and ferociousness of the animal
A TRIBUTE TO PROF CHARLES KAO - FATHER OF FIBRE OPTICS (until 10th March 2010)
An exhibition entitled "A Tribute to Prof Charles Kao – Father of Fibre Optics" to commemorate Prof Charles Kao being awarded the 2009 Nobel Prize in Physics, is running until 10th March 2010 in the Lobby of the Hong Kong Science Museum. The exhibition has been organised by the Hong Kong Governmnent's Leisure and Cultural Services Department (LCSD) and The Chinese University of Hong Kong (CUHK).
Featuring seven interactive exhibits on fibre optics as well as information panels, the exhibition enables visitors to understand optical fibre communications and its applications. Supplemented with exhibits related to Prof Kao the exhibition gives visitors an idea about his academic life and achievements.
Prof Kao, born in Shanghai in 1933, moved to Hong Kong in 1948 and received his secondary education at St Joseph's College before going to the United Kingdom to study electrical engineering in 1954. He obtained degrees of B.Sc. in 1957 and the Ph.D. from the University of London in 1965. Prof Kao joined the International Telephone and Telegraph Corporation in 1957 and was transferred to the corporation's Standard Telecommunications Laboratories in 1960. His groundbreaking contribution to optical fibre communications was made during that period of time. A revolutionary paper addressing the basic principles of applying optical fibres to telecommunications was published by Prof Kao in 1966. The paper described the structural features of the dielectric fibre material needed for the transmission of long-range and high-volume information optical signals. Nowadays, single-mode optic cables can be found all over the world allowing massive amounts of information to be transmitted at extremely low cost. The suggestion of the basic form and application of such optical fibres was initiated by Prof Kao's innovation work. Optical fibres have ushered in a new era in telecommunications, as high volumes of information can now be delivered economically to households, offices, factories, hospitals and even battlefields, all without electromagnetic interference.
Prof Kao's achievements are not limited to the theoretical proposal regarding fibre optics. As an outstanding engineer he also developed the auxiliary subsystems required for the realisation of optical communication. Prof Kao performed tremendous research work in various areas such as single-mode fibre construction, the strength and durability of fibres and fibre connectors which contributed to huge increases in the information carrying capacity. Fibre optics and optical communication have now brought distant peoples closer. Information can now travel around the world without boundaries bringing benefits to business, science, medicine and even defence.
Prof Kao's relationship with CUHK goes back almost 40 years. In 1970 he joined the then Department of Electronics as head of department. In 1985 the Chinese University awarded the degree of Doctor of Science honoris causa to Prof Kao in recognition of his leadership of scientific research at the university and the enhancement of its international standing. Prof Kao then led the university through a period of steady development as Vice-Chancellor from 1987 to 1996. Since retiring as Vice-Chancellor, Prof Kao has continued his association with CUHK as Honorary Professor of Engineering. CUHK named the north wing of Science Centre the Charles Kuen Kao Building and set up the Charles Kuen Kao Fund to support academic research, international links and student activities. Prof Kao cares so deeply for the university that he generously donated to CUHK 17 medals awarded to him for his scientific and technological achievements.
The Science Museum is located at 2 Science Museum Road, Tsim Sha Tsui East. It opens from 1pm to 9pm from Monday to Wednesday and on Fridays and from 10am to 9pm on Saturdays, Sundays and public holidays. The museum closes at 5pm on Lunar New Year's Eve. It is closed on Thursdays (except public holidays) and the first two days of the Chinese New Year. Admission to this exhibition is free.
Secretary for Home Affairs, Mr Tsang Tak-sing (left) and the Vice-Chancellor of The Chinese University of Hong Kong, Prof Lawrence J Lau, visiting the exhibition and examining how light travels along an optical fibre through an interactive exhibit
THE ULTIMATE SOUTH CHINA TRAVEL GUIDE - CANTON (until 28th March 2010)
About 50 sets of paintings and artefacts depicting the daily life and landscape of Canton of the 18th and 19th centuries are currently being showcased at the Hong Kong Museum of Art from September 14th 2009 until March 28th 2010.
The exhibition “The Ultimate South China Travel Guide - Canton” serves as a holographic travel guide offering practical destination information complete with the do’s and don’ts of days gone by and a shop-till-you-drop directory catering specifically to the needs of foreign travellers in the 1800s. Visitors can imagine travelling back in time and visiting the Canton of old.
Canton, known today as Guangzhou, was once known as the “London of the East”. Opened as a trade port under the Qing regime Canton enjoyed a monopoly on foreign trade for about 80 years from 1757 to 1842. Before the First Opium War it was the most accessible city in China.
The fastest way to Canton was by boat during that time. It took only about four to five months from European countries. China trade was so profitable that the East India Companies of various countries conducted regular fleets to and from Canton each year. This in turn connected Canton with ports all over the world. Ships sailed only during the trading season which started in summer and ended in January or February of the following year. Under Chinese law foreigners who failed to leave Canton on time had to spend the off-season months in Macau. Whampoa was the final stop before Canton where the ship anchored throughout the trading season. All goods and passengers were offloaded and transported further upstream to Canton on boats and barges. The ship was measured for port fees. Crews and sailors had to stay there or within surrounding Danes Island and French Island where fresh supplies and material for ship repairs were provided.
Whether visitors there were on holiday or on a business trip their choice of accommodation was the factories. To cater for the needs of travellers the majority of whom were traders the factories adopted a concept of “business-and-bed”. The lower floors were work zones which housed offices, warehouses, the vault, rooms of the comprador, valets, servants, coolies and so on. The upper floors were residential which provided dining rooms, sitting rooms and bedchambers. These factories, usually two or three-storeys, were long rectangular blocks that extended to the north with a facade facing south. The factory architecture was Eurasian in style but the structure was totally Cantonese.
Since Canton opened for foreign trade the Qing government requested foreigners to abide by a number of rules and restrictions to keep them from troublemaking. For example, no females or weapons were allowed in the factories. Excursions were only allowed on the 8th, 18th and 28th day of the lunar month. All trips outside the perimeters of the factories had to be in the company of a Chinese translator, locally known as a linguist. Their accessibility was limited to Fati, the Sea-screen Temple at Honan, villas of the Hong merchants and the Pearl River.
The favourite excursion for every foreigner in South China was a trip to a Hong merchant’s estate. Banquets and parties hosted by the Hong merchants were frequent there. These grand soirees were usually complete with treats including fireworks and Cantonese opera. The wealthy hosts set up a large stage in their private residence with guests seated to view from a raised platform. Before the show there was a performance menu from which the audience was invited to pick their favourite show.
Hong merchants were the few wealthy Chinese merchants licensed to deal with foreigners acting as “security merchants” responsible for foreign ships, for prepaying all government duties and fees, setting prices for imports and exports, hiring staff for the factories, ensuring the safety of foreigners and getting punished instead if the latter misbehaved. Compared with all these duties the foreign Supercargo only needed to settle his accounts before leaving Canton.
Shopping was a big deal in Canton whether it was for official business or private trade. Company business concerned bulk purchase for export to foreign markets. The three main export commodities, usually shipped out in tonnes, were tea, silk and porcelain. Under the order of the government deals had to be made through Hong merchants instead of directly with plants or manufacturers. Sailors and other travellers were free to buy all kinds of Cantonese arts and crafts, local produce, wine and food, tea in small quantities for personal use or for sale upon their return. About 70 to 100 shops made this small quarter one of the greatest shopping centres of all time. To make it easier for foreigner customers many shops added a small plaque by the door with the shop’s name in English or briefly listing the type of goods for sale.
Foreign visitors were mainly dined at the factories which provided four to five meals every day. Canton was a city for gourmands. It hosted the international forum of fine food. Visitors could easily enjoy a taste of the world at a dinner table, where could be found Shad from North America, oysters from Macau, Bombay Duck (a dried fish from Bombay), bird’s nest from Southeast Asia, dates from Nanking, and frogs from the region.
The Museum of Art is located at 10 Salisbury Road, Tsim Sha Tsui, Kowloon. It opens from 10am to 6pm from Sunday to Wednesday and Fridays and from 10am to 8pm on Saturdays. It is closed on Thursdays (except public holidays). Admission is HK$10 and a half-price concession is available to senior citizens. Admission is free on Wednesdays.
Museum of Art website; http://hk.art.museum Tel: (852) 2721 0116
Banquets and parties were frequent in Canton's Hong merchants of the 19th century. Grand soirees were usually completed with treats including fireworks and Cantonese opera. The painting shows the wealthy host who set up a large stage for Cantonese Opera in his private residence, with guests seated to view from a raised platform.
ICON OF AN ERA: THE DR SUN YAT-SEN MAUSOLEUM 1929.6.1 (until 17th March 2010)
To mark the 80th anniversary of the Grand Funeral of Dr Sun Yat-sen an exhibition featuring more than 180 historical photographs and invaluable cultural relics is being held at the Dr Sun Yat-sen Museum from September 4th 2009 until March 17th 2010, probing the profound meanings of the funeral that was held on June 1st 1929.
Jointly presented by the Leisure and Cultural Services Department and the Administration Bureau of Dr Sun Yat-sen's Mausoleum Scenic Area and co-organised by the Dr Sun Yat-sen Museum and Dr Sun Yat-sen Museum, Nanjing, the exhibition "Icon of an Era: the Dr Sun Yat-sen Mausoleum 1929.6.1" introduces the organisation of Dr Sun's funeral including the construction of the Dr Sun Yat-sen Mausoleum and the removal of Dr Sun's coffin from Beijing to Nanjing. The exhibition also explores the implicit messages conveyed by the Mausoleum and the funeral of Dr Sun Yat-sen.
In October 1924, Feng Yuxiang invited Dr Sun to Beijing to discuss national affairs. He fell ill on reaching Tianjin and, after arriving in Beijing, was admitted to Peking Union Medical College Hospital on December 31. He was diagnosed with liver cancer and although both Western and Chinese medical treatment was administered Dr Sun passed away on March 12th 1925 at his residence in Tieshizi Alley in Beijing.
On March 19th his coffin was moved from the hospital to Beijing's Central Park for a public memorial service. Records show that from March 24th to April 1st over 740,000 visitors and 1,254 organisations came to pay tribute to him. At the same time memorial services were held all over China and in other countries. On April 2nd Dr Sun’s coffin was moved to Biyun Temple in Xiangshan, Beijing where it stayed until his grand funeral in 1929. In July 1928 when the Northern Warlords had surrendered and China was reunited, the Kuomintang (Nationalist Party) decided to transport Dr Sun's coffin to Nanjing for interment.
Dr Sun had expressed his wish to be buried in Nanjing as early as March 1912 while out hunting on Mount Zijin and he reiterated his wish before he passed away: "After I die, please bury me among the ranges of Mount Zijin in Nanjing. As the Provisional Government was founded in Nanjing, let it be remembered as the home of the 1911 Revolution." The Preparatory Office for the Funeral of Dr Sun Yat-sen was set up to organise his interment and to oversee the construction of the mausoleum. The office selected a location and sought submissions from architects and artists across the globe for a design. Lu Yanzhi, a 33-year-old architect, won the competition with his bell-shaped design.
The Dr Sun Yat-sen Mausoleum was constructed in three phases. Begun in 1926 and completed in late 1931 the entire construction process lasted six years and cost HK$2.2 million. June 1st 1929 was set as the date for the funeral. In order to educate the people of China on the significance of the event the government organised a train to move Dr Sun's coffin from Beijing to Nanjing and to conduct promotional work in places along the route.
On May 26th 1929 Dr Sun's coffin left Biyun Temple reaching Nanjing on May 28. From May 29th to 31st a three-day public vigil was held at the Nationalist Party’s headquarters. At 4am on June 1st Dr Sun's coffin began its journey from the headquarters, passing in front of hundreds of thousands of Nanjing citizens who lined the route to bid farewell to him. The funeral procession reached Mount Zijin at 8am and the hearse arrived at the plaza of the mausoleum at 9.20am. The coffin was placed under a large coffin cover and then lifted up at 9.45am. At 10.08am, the coffin reached the burial platform. The grand funeral ceremony was then held in the sacrificial hall, finishing at noon. Dr Sun had finally been laid to rest according to his wishes on Mount Zijin in Nanjing.
The significance of Dr Sun Yat-sen's grand funeral has rekindled academic interest in recent years. Scholars recognise that the funeral has far-reaching historical implications beyond its function as a ritual. The construction of the Dr Sun Yat-sen Mausoleum, culminating in the grand funeral held on June 1st 1929 is the central focus of discussions, while the mausoleum's siting in Nanjing, its architecture and the funeral rites are all endowed with rich symbolism.
The Dr Sun Yat-sen Museum is at 7 Castle Road, Mid-levels, Central, Hong Kong. It opens from 10am to 6pm from Monday to Saturday and from 10am to 7pm on Sundays and public holidays. It is closed on Thursdays (except the anniversaries of Dr Sun's birth on November 12, his death on March 12 and public holidays). Admission fee is HK$10 with a half-price concession for senior citizens aged 60 or above. Free admission is available on every Wednesday, the anniversaries of Dr Sun's birth (November 12th) and death (March 12th).
For further details please visit the Dr Sun Yat-sen Museum's website at
http://hk.drsunyatsen.museum/en/index.php
or call (852) 2367 6373.
THE ARTISTRY OF YIXING POTTERY: THE K.S LO COLLECTION OF THE FLAGSTAFF HOUSE MUSEUM OF TEA WARE (until 17th May 2010)
More than 100 pieces of fine Yixing ware, dating from the Ming and Qing dynasties to the 20th century are on show at the Flagstaff House Museum of Tea Ware from July 11th 2009 until May 17th 2010. The exhibition “The Artistry of Yixing Pottery: The K.S. Lo Collection of the Flagstaff House Museum of Tea Ware" also features stationery accessories, snuff bottles, potter pillows and small ornaments and shows the diversity of purple clay art. Purple clay is the common name for the clay material excavated from the mountains of Yixing. Yixing, also known as Jingxi and Yangxian is known as the Pottery Capital of China. Situated at the western end of Lake Tai, the small county in Jiangsu province has been famous for its production of purple clay wares for several centuries. The clay is fine grained and highly malleable. It contains a very high iron content of more than 9% and has remarkable plasticity which is perfect for minute, precise modelling of tea wares. Purple clay ware which dates back to the Song dynasty (960-1279) was very popular during the Ming and Qing dynasties. Since the middle period of the Ming dynasty purple clay ware making has gradually become a form of art combining pottery making, poetry writing, calligraphy, drawing, seal carving and sculpture. Verses praising purple clay ware can be found in the works of famous poets Mei Yaochen and Ouyang Xiu of the Northern Song dynasty (960-1127)indicating that purple clay teapots started to be popular at that time. In 1976 a dragon kiln site of the Song dynasty was found on Yanghiao Hill of Dingshu Town in Yixing and many fragments of broken purple clay teapots were unearthed. Both the relics uncovered during the archeological excavations and the literature serve as evidence for the history of purple clay ware. Purple clay ware gained prevalence and matured in the Ming dynasty (1368-1644). There were many renowned artisans of this period. Since the appearance of the “Gong Chun Tree Burl Teapot” purple clay ware makers like Dong Han, Zhao Liang, Yuan Chang and Shi Peng known as the Four Great Masters rose to fame and won wide recognition. Shi Peng’s son Shi Da-bin was said to be an apprentice of Gong Chun. Initially Shi Da-bin merely modelled after Gong Chun and focused on making large teapots. Later, inspired by his acquaintance with contemporary literati he broke away from the confines of his teacher’s style and began making small teapots. Among the exhibits there is a “Teapot of Monk Cap Shape with Lotus Crown” and inscription of Shi Da-bin. This uniquely shaped piece of work is quintessentially brilliant craftsmanship vividly manifesting the master’s individual style. In the Qing dynasty (1644-1911) purple clay ware making was elevated to a higher level. One famous Qing potter was Chen Ming-yuan from the Kangxi reign (1662-1722). He excelled in refined relief and ornate detail as displayed by his representative work “Teapot of Flower Shape with Eight Lobed Body”. Chen’s purple clay vessels earned high acclaim both in China and overseas. There was a saying in Beijing at the time that “works by Ming-yuan were in great demand overseas” while the “Pictorial Study of Yangxian Teapots” rated Chen’s works as being “sought after by scholars and intellectuals”. During the Jiaqing reign in the Qing Dynasty (1796-1820) another craft master emerged. Yang Peng-nian was a maker of elegant and delicate teapots. He did not use mould but fabricated vessels in causal ways. This approach resulted in works of great natural charm that were highly praised by art circles. Appreciating Yang’s talent, county magistrate Chen Man-sheng came to Yixing to produce teapots with him. Chen designed 18 styles of archaize teapots for Yang to handcraft. These teapots were engraved with calligraphy or paintings with a bamboo knife while the moulded clay was half dry. With the finished products bearing the inscription “Amantuo Shi” these teapots are known as Man Sheng Teapots. They have always been highly rated by connoisseurs and the “Teapot of Gourd Shape” on display is one fine example. Shao Da-heng was another great artisan in the Daoguang-Xianfeng reign (1821-1861). He became famous while still a young man. While Yang Peng-nian was famous for his delicate skill Shao Da-heng impressed the world with his untutored talent and natural style. One of his works that have been passed down through the centuries is the “Teapot with Fish Metamorphosing into Dragon Decoration” which is one of the star exhibits in the show. This teapot is generally mauve in colour with a carp and a dragon half hidden in clouds and water. The whole composition is sophisticated and refined. The flexible dragon’s head on the lid is a pleasant surprise as the head can be made to stick out when pouring water. It is a cleverly made vessel with classic antique flavour. In addition to masterpieces from the Ming and Qing dynasties also on display at this exhibition are teapots by famous artists of the 20th century including Gu Jingzhou, Jiang Rong, Xu Xiutang and Wang Yinxian. To ensure visitors of all ages can enjoy the purple clay art an education corner has been set up inside the gallery to illustrate the functions of various vessels through interactive games and interesting wall graphics. An educational pamphlet is also available.
The Museum of Tea Ware is located at 10 Cotton Tree Drive, Central, Hong Kong (inside Hong Kong Park). It opens from 10 am to 5 pm daily and closes on Tuesdays. Admission is free
Shao Da-heng was a great artisan in the Daoguang-Xianfeng reign (1821-1861) of the Qing dynasty. Pictured is one of his works "Teapot with Fish Metamorphosing into Dragon Decoration" which has been passed down through the centuries. This teapot is generally mauve in colour with a carp and a dragon half hidden in clouds and water. The whole composition is sophisticated and refined. The flexible dragon's head on the lid is a pleasant surprise as the head can be made to stick out when pouring water. It is a cleverly made vessel with classic antique flavour.
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