CURRENT EXHIBITIONS

UNRESTRAINED PASSIONS: THE ART OF NG YUET-LAU (until 7th February 2011)

About 40 recent works by an artist of the Lingnan School, Ms Ng Yuet-lau, that show the driving force of artistic exploration are on display from 11th July 2010 until 7th February 2011 at the Hong Kong Heritage Museum.

"Unrestrained Passions: The Art of Ng Yuet-lau" is part of the new Chao Shaoan "Student Exhibition Series" launched by the Heritage Museum to offer visitors a glimpse into the achievements of Chao’s students in their continuing efforts to explore new horizons beyond the confines of different schools of art and their underlying principles.

Born in 1943 in Guangzhou, China, Ng Yuet-lau was exposed to the art of Chinese painting at an early age. But it was not until the 1970's that she devoted herself to an artistic career. In 1972 she became a student of Chao Shaoan (1905-1998) and was inspired by the spirit of creativity of the Lingnan School of painting. In 1976 she further studied with Huang Junbi (1898-1991) who taught her the importance of traditional techniques. Benefiting from this training, Ng burnished her traditional techniques while pursuing the spirit of creativity in her art.

"Plantain tree under the moonlight" by Ng Yuet-lau

Excelling in a wide range of subjects in the traditional media of Chinese ink and colour, Ng has been particularly fond of painting landscapes in recent years. The prominent characteristic of her landscapes is the blending of splash ink patches with textural details in the representation of mountains and streams. This is usually supplemented with shrouding clouds, beams of sunlight and other details to enhance the richness of the pictorial appearance, displaying her virtuosity in the mastery of this traditional genre.
Ng is also noted for her painting of animals and birds which follows the lineage of the Lingnan School, but to which she adds personal touches. Through her close observation of nature she has captured the liveliness of the tiger, eagle, golden monkeys and other animals, emphasising their characteristics and at the same time expressing her own feelings towards these creatures. In the genre of flower painting Ng excels particularly at peonies. Aided by the careful choice of elegant colours and the effect of transparency in the treatment of floral petals, Ng's peonies convey a feeling of purity without a sense of flamboyance.

Ng is a hard-working artist who is always ready to absorb new elements in her art. This is reflected in her experiment of adopting the sharp contrasting effect of light and the dark patterns of woodblock prints in her paintings. In a series of works on plantain trees, such an effect perfectly depicts plantain trees at night by contrasting the white leaves with the dark background. In this way Ng successfully makes her work different from her teacher's work on the same subject. Succeeding in developing a personal style evolved from the art of her teacher Chao Shaoan, Ng at the same time has followed the footsteps of her teacher by devoting much effort to art education. She started to teach Chinese painting at the School of Continuing and Professional Education of the City University of Hong Kong from 2003, and the next year she established the Ling Ngai Art Association. She has also lectured at Shaoguan, Wuyi, Xiamen, Fudan and Indianapolis universities in the last decade. By doing this she has joined forces with other students of Chao Shaoan in promoting the art of the Lingnan School, bringing it to a wider audience locally and around the world.

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. It is closed on Tuesdays (except public holidays). Admission is HK$10, with a half-price concession for senior citizens aged 60 or above, people with disabilities and full-time Hong Kong students. Admission is free on Wednesdays. The museum is three minute's walk from Che Kung Temple Station on MTR East Rail Ma On Shan Line branch.




THE EVERGREEN CLASSIC - TRANSFORMATION OF THE QIPAO (until 13th September 2010)

From 23rd June 2010 until 13th September 2010 more than 270 "qipao" of different styles and eras are on display at the Hong Kong Museum of History along with some 400 pictures and nine multi-media programmes, giving the public an opportunity to have a full picture of the development of the "qipao" and to appreciate its classic beauty. Entitled "The Evergreen Classic - Transformation of the Qipao", the exhibition is jointly presented by the Leisure and Cultural Services Department and the Institute of Textiles and Clothing, The Hong Kong Polytechnic University, and organised by the Museum of History in association with the Hong Kong Heritage Museum.

After the 1911 Revolution education became widely available to women in China. During the 1910's and 1920's students commonly wore a two-piece style consisting of mostly black skirts. This outfit was known as "civilised attire" (wenming xinzhuang). Sophisticated urbanites also began to wear this style, popularising it. The picture provided by Guangzhou Integrated Image Co., Ltd. shows the uniform worn by students of the Peihua School for Women in Beijing in 1916

The exhibition illustrates the origins of the "qipao" and its relationship with society and culture. It also analyses how the "qipao" has constructed a cultural symbol from a piece of clothing and how contemporary fashion designers have continuously transformed it into the fashion icon of today. The fabulous, colourful exhibits on display cover a wide range from women's long gowns dating back to the Qing dynasty (1644-1911) to the "qipao" worn by the Beijing Olympics ceremony hostesses in 2008 as well as that worn by Mrs Gwen Kao, wife of Nobel Laureate Professor Charles Kao, at the Nobel Prize Award ceremony in 2009. There are also "qipao" worn by celebrities and actresses, such as Lin Dai, Josephine Siao Fong-fong, Loletta Chu, Christina Lee Look Ngan Kwan, Vera Waters, Michelle Yeoh Choo-kheng and Nansun Shi. The "qipao" uniforms of local chain restaurants run by Tao Heung Holdings Ltd, "qipao"-style school uniforms worn by girls, designs from Chinese Arts and Crafts (HK) Co. Ltd and other two fashion brands, "SHIATZY CHEN" and "Blanc de Chine" are also featured. The teaching staff of the Institute of Textiles and Clothing at The Hong Kong Polytechnic University also has been invited to design "qipao" for this exhibition, giving new perspectives on how a contemporary training institute of fashion design interprets the "qipao" tradition.

The term "qipao" originally referred to the long gowns worn by Manchu women of the Qing dynasty. Manchu gowns featured a tighter fit that suited this people's nomadic and hunting lifestyle. As lifestyles changed after the mid-Qing dynasty, the gown was ankle length and featured a loose, straight cut and wide sleeves. Embellishments and details were especially important in Qing dynasty attire. After the 1911 Revolution education became widely available to women in China. With schooling and active participation in social affairs now available to women they began to wear plain and simple clothes which were more practical and allowed them to move around more easily. It was against this backdrop that the "new civilised outfit" which featured a blouse and a skirt emerged. Initially this style of clothing was worn by students and thus gained popularity among educated women which in turn led to it becoming fashionable among urbanites who wore it to come across as modern. Consequently the "new civilised outfit" became the predominant clothing style in the 1910's and 1920's. In the 1920's an early form of the "qipao" re-emerged that traced its origins back to the gown of the Manchu women of the Qing dynasty but also incorporated contemporary fashion elements. Like the Manchu gown it was cut wide and straight but it had also been modernised with the skirt shortened to the calf to reveal the ankles; the sleeves shortened to elbow or wrist length; and the cuffs, collar and front-flap adorned with simple bindings. This style formed the prototype for the modern "qipao". When the Republican government promulgated "Attire Regulations" in 1929, it recognised the "qipao" as ceremonial dress. Meanwhile, the Ministry of Education reinforced the increasingly dominant position of the "qipao" by making it one of the few school uniform styles that girls could wear. The "qipao" saw its heyday during the 1930's. Women of all ages and from all walks of life wore it on a daily basis. Influenced by Westerners' appreciation of slenderness the skirt was extended down to the ankles. The garment became longer and slimmer but was given higher slits to allow convenient movement. Contemporary fashionable women often wore their "qipao" with high heels to accentuate their slim figures, grace and femininity. Shanghai was the centre of China's fashion industry and entertainment industry in the 1920's and 1930's. The calendar posters that were hugely popular in this period often featured attractive women wearing "qipao" while the most celebrated film stars, including Hudie and Ruan Lingyu, also loved the dress. These models and celebrities set the fashion trends that other women of the time were quick to follow, and this contributed to the diverse and colourful development of the "qipao".

After the founding of the People's Republic of China in 1949, very few women on the Mainland wore the "qipao". This was especially true from the 1960's, when manufactured garments in a wide array of styles became easily available at much cheaper prices than the tailor-made "qipao". However, public figures or the wives of leaders wore it as ceremonial attire on diplomatic occasions. These women of high status in socialist China confirmed the "qipao's" role as ceremonial dress. While the "qipao" fell from grace on the Mainland it remained common attire for Chinese women in Hong Kong where it was seen regularly in a number of different ways: as a uniform for students and waitresses, a wedding dress and the national costume for Hong Kong representatives in world beauty pageants. Today the "qipao" is a symbol for Chinese women. On special occasions where one's Chinese identity is to be emphasised the "qipao" is the obvious choice of dress for many Chinese women.

This "qipao" was worn by the late film star Lin Dai between the 1950s and 1960s. It is provided by the Hong Kong Film Archive

The "qipao" retired from public consciousness for two decades in the 1970's and 1980's but it rose to popularity once again in the mid-1990s, especially in the run-up to Hong Kong's handover to China in 1997. By that time Chinese styles were making their mark on the international fashion scene with many top designers often incorporating features of the "qipao" to give their designs an oriental aura. The "qipao" is, without doubt, a classic. Having survived the ever changing currents of fashion it has provided long-lasting inspiration for designers and has been interpreted and re-presented by generations of creative talent. The process of interpretation creates and recreates vibrancy as traditional form is passed down from generation to generation and generation to come.

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. It is closed on Tuesdays (except public holidays). Admission for the museum 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 more information see the Museum of History website;

http://hk.history.museum/en/ex_special.php

CITY FLANEUR: SOCIAL DOCUMENTARY PHOTOGRAPHY (until 3rd January 2011)

An exhibition featuring some 260 works on cityscape photography is being held from 20th June 2010 until 3rd January 2011 at the Hong Kong Heritage Museum. Entitled "City Flaneur: Social Documentary Photography", the exhibition is the second in the Hong Kong Photography Series. The works on display are masterpieces taken from the 1950's to the present day by 35 groups of photographers. They are divided into four sections, namely "Street Photography", "Social Documentary", "New Topographics", and "Conceptual and Manipulated Photography" to trace the development of contemporary documentary photography in Hong Kong.

To promote the art of photography, the Hong Kong Heritage Museum introduced the Hong Kong Photography Series in 2009. The first programme in the series "The Verve of Light and Shadow: Master Photographers Tchan Fou-li, Kan Hing-fook, Leo K.K. Wong" showcased works of three seasoned artists to revisit the heyday of pictorial photography in Hong Kong. The second exhibition in the series is "City Flaneur: Social Documentary Photography". To inspire more innovative curatorial ideas individual curators have been invited to collaborate with the museum. The guest curatorial team includes distinguished photographer and educator, Mr Joseph Fung; co-founder of pH5 Photo Group, Mr Blues Wong and lecturer at the Academy of Visual Arts of Hong Kong Baptist University, Ms Wong Suk-ki.

Exhibit, "Flying a kite" by Chan Chik

Since its invention 170 years ago photography has become a popular activity and is closely related to our daily lives. Urban spaces, development and changes in local communities have always been photographers' favourite subjects and provide unique materials for cultural landscapes. The German philosopher Walter Benjamin (1892-1940) brought up the key word flaneur, referring to a wanderer who lives in the city but retains his/her unique personality. To him, the flaneur is not bewildered by the razzmatazz of a commercial metropolis. Benjamin thought a photographer should have the flaneur's noble sentiment. They experience and observe the pulse and attitude of modern cities from a detached angle and document what they see with optical instruments. The popularity of portable cameras has given rise to an increasing number of street photographers. The French photographer Henri Cartier-Bresson (1908-2004) advocated the philosophy of the Decisive Moment in 1952 and brought this art form to the threshold of Modernism. "Social Documentary", unlike photojournalism, is not confined by time and the editorial text. The photographer addresses a specific social issue by lengthy and exploratory investigation. These types of works are mostly in series. Social documentary photography eventually led to the emergence of social landscape photography. It first appeared during the 1960's and 1970's in the United States. Creative photographers of this school focus on the living society or the countries they travelled in. The images often reflect social and environmental change; absurdities resulting from the evolution of mankind or the personal identity crisis of modern man. In contrast to pure documentary photography, social landscape photography reveals the artist's sub-consciousness as projected from everyday scenarios. These authentic facets of the community combining both the conscious world and individual introjections developed the spiritual basis of contemporary Western photography. Urban cities are eccentricities, and Hong Kong is one of them. People are not distributed across the land. Instead they move in dense crowds at many levels of space that exist from underground to mid-air. Numerous intertwining spaces are separated by concrete walls, yet the scenes differ so widely in each cubicle. It is indeed a melting pot of people from all walks of life. Exploring this bittersweet world the photographer takes a positive part with a disassociated attitude, capturing images by observing all the happenings in the streets and either peeping in through the window or out from it. With its theme of City Flaneur the exhibition exposes the audience to a group of documentary photographers and their works from the 1960s to the present that show in humanist terms where their hearts lie.

The participating photographers in the exhibition include Anothermountainman, Chak Wai-leung, Chan Chik, Dick Chan, Raymond Chan, Enoch Cheung, Karl Chiu, John Choy, Almond Chu, Chung Man-lurk, Evangelo Costadimas, John Fung, Simon Go, Alfred Ko, Lai Lon-hin, Lau Ching-ping, Leong Ka-tai, Leung Chi-wo, Sara Wong, Ivy Ma, Ng Sai-kit, Bobby Sham, Dustin Shum, Gretchen So, So Hing-keung, Leon Suen, Tay Wei Leng, Ducky Tse, Tse Ming-chong, Simon Wan, Michael Wolf, Hisun Wong, Wong Kan-tai, Wong Wo-bik, Yau Leung and Vincent Yu.

Exhibit, "tc86" by Michael Wolf, 2008

Hong Kong Heritage Museum is located at 1 Man Lam Road, Sha Tin and is about 3 minutes walk from Che Kung Temple MTR Station.  It opens from 10am to 6pm from Monday to Saturday and from 10am to 7pm on Sundays and public holidays. It is closed on Tuesdays (except public holidays). Admission is HK$10, with a half-price concession for full-time Hong Kong students, people with disabilities and senior citizens aged 60 or above. Admission is free on Wednesdays. Hong Kong Heritage Museum website;

http://hk.heritage.museum/english/main.asp

HONG KONG DIARY - RESPONSE EXHIBITION OF THE 53rd VENICE BIENNALE HONG KONG EXHIBITION II (until 1st August 2010)

To coincide with the Hong Kong Contemporary Art Biennial Awards 2009, the "Hong Kong Diary – Response Exhibition of the 53rd Venice Biennale Hong Kong Exhibition II" is being held from 12th June 2010 until 1st August 2010 at the lobby of  Hong Kong Museum of Art. The exhibition displays the artist Pak Sheung-chuen's unique observations and thoughts on Hong Kong's daily life.

Jointly presented by the Leisure and Cultural Services Department (LCSD) and the Hong Kong Arts Development Council and co-organised by the Museum of Art and Para/Site Art Space, the exhibition reassembles Pak's works previously shown in the Hong Kong Exhibition at the 53rd Venice Biennale and turns them into a new exhibition. The concept of "Hong Kong Diary" is an extension of Pak's "Making (Perfect) World: Harbour, Hong Kong, Alienated Cities and Dreams" in the 53rd Venice Biennale held in Italy from June to November 2009. Under the curatorship of Tobias Berger in association with Para/Site Art Space "Making (Perfect) World" featured a series of philosophic and provocative masterpieces in the international arts arena. The response was so overwhelming that the total number of visitors reached over 130,000.

In the current exhibition, Pak's works are presented in a range of media. The foyer of the Museum of Art will provide the perfect lounge setting for people to read the papers, watch television, do puzzles, play or simply relax. The exhibition uses documentaries as a way to showcase Pak's art including all his contributions to the "Sunday Life" supplement of the local paper Ming Pao published between 2003 and 2010. This collection bears the mark of the artist who works with poetic adroitness and a sophisticated grasp of city life. In addition to textual presentations, commentaries narrated by Pak himself and clips of his appearances on television bring viewers up close and personal with the stories behind the works and the artist himself. Periodic workshops hosted by the artist will be held to encourage visitors to explore and experience fun in life and in art.

As an important local art event the Hong Kong Contemporary Art Biennial Awards 2009 is presented by the LCSD and organised by the Museum of Art. To review the most recent developments in the local art scene and explore Hong Kong's artistic creativity and cultural identity, 83 works created by 78 local artists are currently on display at the Museum of Art until August 1. The Museum of Art also has established partnerships with various art organisations and institutions to organise 19 exciting fringe programmes and activities. Details of the exhibition and the fringe programmes are available on the Museum of Art's website at;

http://www.lcsd.gov.hk/CE/Museum/Arts/english/exhibitions/exhibitions01_apr10_02.html

or refer to the Hong Kong Contemporary Art Biennial Awards 2009 Programme Guide which is available at the Museum of Art and all participating organisations.

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 full-time Hong Kong students, senior citizens and people with disabilities. Admission is free on Wednesdays.

"A Little Flower for the Passer-by" was created by Pak Sheung-chuen in Shek Kip Mei and Ngau Tau Kok, Hong Kong in 2005

BUILDING IN THE CITY: INSPIRATIONS FROM THE EMERGENCE AND CONTINUED DEVELOPMENT OF CONSTRUCTION TECHNOLOGY IN HONG KONG (until 13th October 2010)

"Building the City: Inspirations from the Emergence and Continued Development of Construction Technology in Hong Kong" runs at the Hong Kong Heritage Discovery Centre in Kowloon Park from 11th June 2010 until 13th October 2010. Featuring more than 30 exhibits, along with panel text, models and video programmes, the exhibition introduces the establishment and development of construction technology in Hong Kong in the context of the modernisation of Chinese and Western societies and evolving from conflict to harmony in Hong Kong. The exhibition is co-organised by the Hong Kong Construction Association and the Lee Woo Sing Hong Kong History Resource Centre, Shaw College, The Chinese University of Hong Kong, in association with the Commissioner for Heritage's Office in the Development Bureau and the Antiquities and Monuments Office of the Leisure and Cultural Services Department to celebrate the 90th anniversary of the establishment of the Hong Kong Construction Association.

Hong Kong is a city created by its people. Modern construction technology has played a vital role in the development of land and the construction of housing and infrastructure, cultural centres and recreational facilities. In an era when technology was primitive and reliance was placed on manpower, construction workers were the driving force behind the city's development. As technology continually improved the city made use of advanced construction technology from overseas to promote social development. It also depended on the expertise, experience and sensitivity of builders. In a system that respected tradition as well as allowed participation by foreign-owned enterprises, builders were able to adapt continuously to the needs of society and make contributions.

In 1843, Alexander Thomas Gordon, the Land Officer, formulated a blueprint for the development of the City of Victoria. Central and Admiralty were to be developed into Government Hill, Hong Kong's military and administrative centre. The northern shore of Hong Kong Island would become a trading base, while cemeteries would be built in the area around Happy Valley. Wan Chai was designated for use by religious bodies and schools and Sheung Wan was to become a Chinese commercial and residential district. The area between Queen's Road and Robinson Road was for residential use. With the city plan basically made there was limited space in the city's core area and it was confined to the northern coast of Hong Kong Island. The government had to make use of new construction techniques to overcome natural geographical barriers and build support facilities such as roads, piers, tunnels, railways and bridges in order to stimulate trading and commercial activities. With the help of new construction technology urban development since the mid 19th century has been able to overcome the natural obstacle of insufficient land in urban areas and tackled the problems of housing, water supply and transport caused by rapid population growth. Owing to the lack of economic resources before the war the government played a leading role in determining the type and scale of new technology introduced. After the Second World War new construction technology played a positive role in expanding the city's core to meet the demands of a population that increased by one million people every decade. In the context of economic globalisation a number of multinational and local construction companies brought in new equipment and technology. New technology has enhanced urban development and changed the lifestyle of Hong Kong people as well as laying a foundation for Hong Kong's development into a metropolis.

It has long been a tradition to revere Master Lu Ban (known as Lo Pan in Hong Kong) as the patron saint of the construction industry. In this tradition master craftsmen passed on their trade skills to their pupils. In the second half of the 19th century skills were still passed on through apprenticeship. Those who wanted to join the construction industry had to serve an apprenticeship under a master craftsman. The tradition of passing on skills changed in the 1930s when construction training schools were established one after another.

Exhibit, "Bronze Statue of Lo Pan, 1960s". There is a saying that "thread regulates criteria, compass regulates radii" (yardsticks are used to determine straightness, while compasses and set squares are used to make circles and squares). Accuracy is a basic requirement of all construction techniques. The instruments placed beside the statue are an ink marker (a thread dyed in ink for marking lines), a ruler and an axe., which were early construction tools. Apart from axes, which have been replaced by saws, ink markers and rulers remain vital tools to this day. In the 1960s and 1970s, small statues of Lo Pan were given by the earliest Lo Pan Temple in Hong Kong to construction sites as blessings

Through open recruitment and systematic professional training the industry has been able to nurture new generations. The construction industry traditionally put great emphasis on good craftsmanship. A newcomer to the industry had to rely on personal relationships with fellow villagers, persons with the same surname or relatives in order to be accepted into apprenticeship by a master. The imparting of skills under the master-apprentice system was of a very personal nature. The ability or effort of the apprentice would not ensure positive learning outcomes. The relationship between the master and his apprentices had a major bearing on skills transfer; an apprentice who had a good relationship with his master might be able to acquire more skills. Besides, a master could have many apprentices and he might find it difficult to take good care of each and every one. As a result the performance of individual apprentices varied widely; some who did not reach an adequate skill level might still be able to make a living in the industry. In a time of labour shortage the government had to rely on contractors to undertake construction works in order to further develop the city. The contractors subcontracted the works to construction workers who formed their own teams to carry out the works. There was considerable urgency to change the traditional mode of training. The imparting of construction trade skills had to be standardised to ensure that apprentices acquired basic skills. In 1931 Governor Sir William Peel asked the Vice-Chancellor of Hong Kong University, Sir William Hornell, Leigh & Orange (an architectural firm) and the Building Contractors' Association to establish a technical school in Hong Kong to nurture local construction talent. The Government Trade School located at Wood Road, Wan Chai, was completed in 1936. In its early years the school offered courses including wireless telegraphy, building and light and heavy engineering. The school started recruiting students for the three-year building course in 1937. Each year students had to spend eight months in class learning theory and four months doing practical work outside the school. In 1953 the Report of Technical Education and Vocational Training prepared by the Technical Education Investigating Committee recommended the construction of a new campus in Kowloon due to insufficient space in the old campus. Backed by a HK$1 million donation from the Chinese Manufacturers' Association of Hong Kong in 1954 plus a subsidy of HK$1 million and a site in Hung Hom from the government, the college was completed in November 1957. On March 24, 1972 the government enacted the Hong Kong Polytechnic Ordinance and established the Hong Kong Polytechnic. In 1965 the government set up a non-statutory organisation, the Industrial Training Advisory Committee, to carry out research and make recommendations on technical training in Hong Kong, and appointed representatives of the Construction Association to the committee. On July 30, 1975, the Industrial Training (Construction Industry) Ordinance was enacted and the Provisional Construction Industry Training Authority (CITA) was established in September of the same year. The training courses offered by the CITA included bricklaying, plastering, tiling, carpentry, joinery and painting. Between 1977 and 1995, the CITA set up four training centres in Kowloon Bay, Kwai Chung, Aberdeen and Sheung Shui for the convenience of students. Following the merger of the CITA and the Construction Industry Council (CIC) on January 1, 2008 the Construction Industry Training Board (CITB) is now responsible for training and skills testing through the Construction Industry Council Training Academy (CICTA). Nowadays the construction industry no longer relies on the apprenticeship system to impart skills. The opportunities for learning construction skills and entry into the industry are open to all.

Exhibit, "Model of Tunnel Boring Machine". A tunnel boring machine (TBM) is tailor made for different ground conditions. Capable of boring through hard rock, soft soil and slurry, it advances and builds the passage to eliminate the need for above-ground construction work, minimising the impact on traffic and the environment as well as tunnel excavation accidents. The TBM is normally used once only; it will be dismantled upon work completion. The TBM is given a female name before construction commences for easy identification. Past names included "Mulan", "Mu Guiying", "Xiaolongnu" and "Dae Jang Geum". This TBM is named "Oshin" and has a length of 170 metres and a diameter of 8 metres. Its operation is highly automated. It was used in the Hong Kong West Drainage Tunnel project

Hong Kong Heritage Discovery Centre is located at Kowloon Park, Haiphong Road, Tsim Sha Tsui and opens from 10am to 6pm from Mondays to Saturdays, from 10am to 7pm on Sundays and public holidays. It is closed on Thursdays (except public holidays). Admission is free. For more information see the Antiquities and Monuments Office website;

http://www.amo.gov.hk/en/news_20100602.php

BIODIVERSITY IN HONG KONG (until 31st August 2010)

Hong Kong's biodiversity remains remarkable despite its tiny landmass and the huge changes that man has made to its landscape over the centuries. The tropical location, mountainous terrain and corresponding variety of habitats are major factors in supporting this rich biodiversity. Running until 31st August 2010 the "Biodiversity in Hong Kong" exhibition at the Hong Kong Science Museum enables the public to learn more about wildlife in Hong Kong. The exhibition features 30 live specimens that are commonly found in Hong Kong. These include Romer's tree frog which is endemic to Hong Kong, the Hong Kong paradise fish which is the only freshwater fish named after Hong Kong, the Hong Kong newt which was first discovered in Hong Kong and other species which are found commonly in countryside, such as the Asian common toad, common blind snake, "macrobrachium hainanese", Hong Kong freshwater crab, dung beetles and "lema coromandeliana". Visitors can increase their knowledge of these specimens through the illustrative graphic panels at the exhibition. They can also learn about the structures of insects, classify animals and vote for their favourite animals in the wetlands through interactive exhibits. The exhibition is jointly presented by the Leisure and Cultural Services Department, the Agriculture, Fisheries and Conservation Department, Kadoorie Farm and Botanical Garden and WWF - Hong Kong.

More than 800 vertebrates with 500 bird species and nearly 2,500 plants have been recorded in the past 100 years in Hong Kong. Of invertebrates, thousands of insects are known and it is believed that the total for all land and freshwater invertebrates may reach 25,000. The number of species is astonishing. The "Biodiversity in Hong Kong" exhibition aims to introduce the diverse animal species found in Hong Kong and raise the public's awareness of the importance of conserving wildlife and natural habitats.

The exhibition features four interactive exhibits: "Classification of Animals", "Star of Wetlands", "Recognition of Body Parts", and "Microscopic World of Insects".

There are millions of different kinds of living organisms dwelling on Earth. Through "Classification of Animals", visitors can understand how scientists use biological classifications to categorise all life according to their biological characteristics. The system allows scientists to examine the relationships between various organisms and their evolutionary history.

An immense variety of species can be found in Hong Kong's wetlands. Visitors are invited to vote for their favourite animals in the wetlands while playing the "Star of Wetlands".

One of the exhibits on display - Romer's tree frog. Romer's tree frog is endemic to Hong Kong and naturally occurs on Lamma Island, Lantau Island, Chek Lap Kok and Po Toi but nowhere else in the world. Romer's tree frog is the tiniest native frog, about 25 millimetres, with an "X" mark on its back. It is a nocturnal animal feeding on small insects

Many animals look very similar, but they actually belong to different species and behave differently. With the "Recognition of Body Parts" exhibit, visitors can try to find out the difference between butterflies and moths, toads and frogs, and tortoises and soft-shelled turtles in their physical characteristics in this matching game.

Although insects are small, they have incredibly complicated structures. In "Microscopic World of Insects", visitors can try to see the specific structure of compound eyes, wings, mouthparts and abdomens under the microscope.

Admission to the Science Museum is HK$25 with half-price concession for full-time Hong Kong students, people with disabilities and senior citizens aged 60 or above. Admission is free on Wednesdays. The 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 on Thursdays (except public holidays). Details of the exhibition can also be found on visit the Science Museum's website hk.science.museum

A separate exhibition "Biodiversity in China - an exhibition on China's wildlife specimens" has been running at the Science since December 2009 and also continues until 31st August 2010. See details below on this page and on the Science Museum website.

"Biodiversity in Hong Kong" exhibition runs in parallel with the "Biodiversity in China" exhibition (for details of "Biodiversity in China" see below)

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. The exhibition runs alongside the "Biodiversity in Hong Kong" exhibition (see above).

"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;

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

LOFTY INTEGRITY :DONATION OF WORKS BY WU GUANZHONG (extended to 29th August 2010)

DISCOVERING HONG KONG'S CULTURAL TRADITIONS (until end 2010)

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 airport

ESCAPE 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

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.