Epoch in Ink - Inheritance and Transformation

EPOCH IN INK - INHERITANCE AND TRANSFORMATION 瀛墨世代．繼故鼎新

EXHIBITION CO-ORGANISERS Asia Ink Research (AIR) The Ink Society

聯合主辦單位 亞太水墨研究會 水墨會

CURATOR & ARTISTIC DIRECTOR Henrietta Tsui-Leung

藝術總監及策展人 梁徐錦熹

EXHIBITION COORDINATORS Odetti Tse Stephenie Tsoi

展覽統籌 謝穎君 蔡穎恆

TITLE SPONSOR DC Foundation

冠名贊助 滙溋基金

VENUE SPONSOR Liang Yi Museum

場地贊助 兩依藏博物館

CATALOGUE SPONSOR Galerie Ora-Ora

圖錄贊助 方由美術

FESTIVAL ORGANISER The Earthpulse Foundation

文化節主辦單位 地脈基金會

SUPPORTING ORGANISATION Leisure and Cultural Services Department - Intangible Cultural Heritage Office

支持機構 康樂及文化事務署——非物質文化遺 產辦事處

We would like to thank the Hong Kong Culture Festival for their generous support, which made this exhibition possible. 我們衷心感謝「香港文化節」的慷慨支持，使是次展覽得以順利舉行。

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前言

Hing Chao Founder & Chairman, The Earthpulse Foundation

趙式慶 地脈基金會創辦人及主席

David Pong Chun-Yee Vice-Chairman, The Ink Society

龐俊怡 水墨會副主席

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Lynn Fung Director, Liang Yi Museum

馮依凌 兩依藏博物館館長

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CURATORIAL STATEMENT

策展人語

Henrietta Tsui-Leung Founder, Asia Ink Research

梁徐錦熹 亞太水墨研究會創辦人

ARTISTS

藝術家

Chan Keng Tin Hung Hoi Lee Chi Ching Lui, Eddie Mak, Louis Mak, Winnie Ng Kwun Lun Pryde, Nina Shen Ping Wang Qiu Tong Wong Hau Kwei Zhou Jin

陳鏡田 熊海 李志清 呂豐雅 麥羅武 麥翠影 吳觀麟 派瑞芬 沈平 王秋童 黃孝逵 周晉

18 26 34 42 50 58 66 74 82 90 98 106

SPECIAL THANKS

特別鳴謝

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CONTENTS

PREFACE

目 錄

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Earthpulse is delighted to present Epoch in Ink – Inheritance and Transformation at the inaugural Hong Kong Culture Festival, a new annual arts and cultural festival to celebrate cultural heritage in Hong Kong.

A relative latecomer to the global initiative to preserve and promote intangible cultural heritage, many aspects of traditional culture remain obscure and poorly documented in Hong Kong.

However, the territory has historically played a vital role in keeping alive diverse aspects of Chinese culture, particularly between 1949 and the early 80s. At the same time, Hong Kong has served as a platform for exchange with the rest of the world. This applies to many aspects of traditional culture, including ink art.

There are two main motivating factors behind Epoch in Ink. The first is to narrate how a generation of Hong Kong ink artists have bridged the past and the present, at a time when Mainland China was out of reach with the rest of the world, thereby drawing attention to their importance to the history of Chinese ink art. The second is to educate the public about the significance of ink art as a vital and vibrant part of Hong Kong’s living cultural heritage.

The exhibition was conceived in early 2015 through a series of conversations among myself, Henrietta Tsui-Leung, the curator of the show, and Lynn Fung, the director of Liang Yi Museum. That we were able to produce this exhibition within such a short period of time is a testament to the dedication and professionalism of everyone involved. Chief among them I would like to thank Henrietta and her team, who have expertly put

Hing Chao Founder & Chairman, The Earthpulse Foundation September, 2015

地脈基金會很榮幸在首屆「香港文化節」 為大家呈獻「瀛墨世代‧繼故鼎新」水墨畫 展。 「香港文化節」是香港年度綜合性文化藝 術節，旨在慶祝本土文化遺產，並提供平 台讓更多人認識和參與具代表性的香港文 化。由於在香港的非物質文化遺產研究和 推廣起步較晚，諸多本地的文化傳統尚未 有系統地挖掘、整理，令大家對香港的 「非物質文化遺產」只有模糊印象。但實 際上，香港對中國傳統文化傳承卻有著不 可抹煞的歷史貢獻，尤其在1949年至1980 年代間，香港更是中華文化與世界接軌的 重要平台。 舉辦「瀛墨世代‧繼故鼎新」水墨畫展主 要有兩個目的：其一、透過是次展覽令公 眾認識到香港畫家為秉承及延續傳統水墨 文化曾經做出過的貢獻，為這代「承先啟 後」的藝術家正名；其二、令大家進一步 了解水墨畫亦是香港文化遺產的重要構成 部分。

P R E FA C E

together this exhibition and its beautiful companion catalogue. I would also like to acknowledge my gratitude to Lynn for making her wonderful museum available for the exhibition. Last but not least, I would like to thank DC Foundation for their kind donation, without which this exhibition would not have been possible.

HENRIETTA

前 言

「瀛墨世代‧繼故鼎新」源於年初本人與 策展人梁徐錦熹女士及兩依藏博物館館長 馮依凌女士的對話。我們之能夠在這麼短 的時間內舉辦這個展覽，有勞所有參與策 展的人員。其中，特別要感謝梁徐錦熹女 士及其隊伍，和馮依凌女士與兩依藏博物 館的慷慨支持。最後，代表香港文化節衷 心向滙溋基金致謝。 趙式慶 地脈基金會創辦人及主席 二零一五年九月

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As part of the Hong Kong Culture Festival, we are grateful for the Leisure and Cultural Services Department’s support, without which this exhibition could not have taken place. Thanks to the generosity of Lynn Fung, we have the privilege of presenting this exhibition at the majestic Liang Yi Museum, surrounded by rare Ming (1368–1644) and Qing (1644– 1912) dynasty furniture and other works of art. And of course the dedication and expertise of Henrietta Tsui-Leung and her team, as well as Hing Chao and The Earthpulse Foundation, have made it so much easier for everyone else!

水墨會很高興能為各位呈獻名為「瀛墨世 代‧繼故鼎新」的水墨展。香港對於過去 五十年早期當代水墨藝術發展，有著舉足 輕重的地位。多年來，水墨大師如呂壽琨 及劉國松，皆受矚目，唯因珠玉在前，使 後者略遜。希望透過「瀛墨世代」，令各 位重新認識那時期的藝術家之作，並再次 燃點美術史家及收藏家的興趣。這些藝術 家對於傳統水墨的持續發展，擔當著重要 角色，其貢獻更啟發今後年輕一代的藝術 家。 「瀛墨世代」作為「香港文化節」重要的 一環，實在承蒙康樂及文化事務署支持， 否則難以成事。亦感謝馮依凌女士的慷概 幫助，特許將展品展示於雄偉的兩依藏博 物館中，在佈滿碩果僅存的明清傢俱及工 藝品氛圍下，呈現於眾。當然，也有賴梁 徐錦熹女士及其團隊的專業態度，為是次 展覽傾注所有熱誠，以及趙式慶先生和地 脈基金會的鼎力相助，令展覽得以順利舉 行。

P R E FA C E

The Ink Society is delighted to be involved in presenting Epoch in Ink – Inheritance and Transformation. Hong Kong played a pivotal role in the early development of contemporary ink art some fifty years ago. But while pioneering masters like Lui Shou-kwan and Liu Guosong have received much attention over the years, the generation that followed were often overlooked by both art historians and collectors. Epoch in Ink focuses on a selection of artists from that era. These artists played an important role in the continuing development of the ink tradition, and laid the foundation which inspired many of today’s younger artists and creators.

前 言

龐俊怡先生 水墨會副主席 二零一五年七月

David Pong Chun-Yee Vice-Chairman, The Ink Society July, 2015

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Liang Yi Museum is honoured to participate in the first edition of the Hong Kong Culture Festival, co-organised

by The Earthpulse Foundation and the Leisure and Cultural Services Department of Hong Kong.

As Hong Kong’s largest private museum, Liang Yi is known for its world-class permanent collection of Chinese furniture and European vanities. However, our mission is not just to educate the public about art from the past, but also to integrate it into modern lives and for new audiences. Our keywords are design, heritage and craftsmanship: a reminder of what to focus on in all areas of our programming.

This exhibition, Epoch in Ink – Inheritance and Transformation, is exactly the kind of project our museum is proud to support.

Curated by Henrietta Tsui-Leung of Galerie Ora-Ora, co-organised by The Ink Society (an association of ink painting collectors) and Asia Ink Research, and supported by the Leisure and Cultural Services Department of Hong Kong, it is a great opportunity for diverse elements of the thriving art and design community in Hong Kong to come together towards a shared vision. In bringing traditional arts and techniques to a new audience and adapting them in a way that is relatable and enlightening, it echoes very closely what we try to do at the museum.

Most importantly, it puts the spotlight squarely on a generation of local artists that have sometimes been overlooked in favour of their better-known teachers and younger contemporaries. Through their work, Hong Kong born-andbred artists like Eddie Lui, Nina Pryde

It has been a pleasure for us to work with Henrietta and her team; renowned local artist Stanley Wong (also known as “anothermountainman”) who designed the logo and visual concept of the festival; and of course Hing Chao, who dreamt up the Hong Kong Culture Festival and devoted much energy to its development.

We hope that this will be the first of many editions to come, and we will continue to lend our support as the festival grows and evolves over the following years.

Lynn Fung Director, Liang Yi Museum August, 2015

兩依藏博物館很榮幸參予由地脈基金會及 康樂及文化事務署首次於香港舉行的「香 港文化節 」。 作為香港最大的私人博物館，明清年代的 中式傢俱及歐洲奢華飾物為首的世界級典 藏，已成為敝館享負盛名的印記。我們除 了盼望透過敝館館藏，讓觀眾認識過往 的藝術珍品以外，更望觀眾能將所體會到 的，融入現代生活。我們的藏品以設計、 工藝及歷史意義為旨，並以此為敝館在各 層面上的主軸。 「瀛墨世代‧繼故鼎新」由方由美術創辦 人梁徐錦熹女士策展、水墨會及亞太水墨 研究會聯合主辦、並得到康樂及文化事務 署支持，而敝館非常高興能夠成為是次的 展覽場地。是次展覽，給予機會讓藝術 與設計界的不同元素在共同願景下走在一 起。是次展覽盼將傳統藝術與技巧展現於 觀眾眼前，並讓他們能從中得到啟發與體 會，這跟敝館的使命不謀而合。

P R E FA C E

and Tony Ng continually reinvent and revitalise the genre of ink painting – one of the cornerstones of traditional Chinese artistic practice – updating it for new audiences. Likewise, while the objects in our permanent collection were made hundreds of years ago by artisans and craftsman from China and Europe; our mission is to use this incredible archive to inspire local designers in the here and now. We hope that this exhibition will serve as a platform to inspire the budding creative talents in our city today.

前 言

更重要的是，透過是次展覽，讓眾多被前 人的珠玉光芒所遮擋的本地藝術家，聚焦 於大家眼前。透過土生土長的香港藝術家 如呂豐雅、派瑞芬、吳觀麟等的作品，不 斷重塑和持續振興該派別建基於中國藝術 傳統的水墨創作，並迎合更多當下觀眾。 同樣，雖然我們的永久典藏，皆為中國與 歐洲工匠們過百年前的製作，但我們的任 務就是通過這些精彩的藏品，啟發本地設 計師當下的靈感。我們盼望此展覽，也能 為在這都市初露鋒芒的創意人材提供靈感 泉源。 我們很榮幸能為此與梁徐錦熹女士及其團 隊合作，並嗚謝本地著名藝術家又一山人 為「香港文化節」設計標誌及提供視覺概 念，還有趙式慶先生為這次活動的推演注 入無窮力量。我們盼望這次展覽將會有更 多後續，並會繼續支持是次活動在未來日 子的發展。 馮依凌 兩依藏博物館館長 二零一五年八月

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With almost two thousand art exhibitions and events on the calendar in 2014, Hong Kong has become Asia’s art hub. Many important international auction houses and art fairs have firmly established themselves here over the past few years, drawing important world-class art collectors, professionals and visitors to the city. Hong Kong also anticipates the establishment of M+, a new museum focusing on 20th and 21st century art, design and architecture, to be opened in Hong Kong’s West Kowloon Cultural District. International interest in the history and the development of art in Hong Kong has never been higher, with many keen to discover what the city has to offer as a growing cultural center.

Modern and contemporary art have taken centre stage in this exploration of Hong Kong’s art scene, particularly “Ink Art”, and there has been much interest from the international art community into how ink has evolved from the modern to contemporary context.

Defining Ink Ink Art (or Shui Mo painting) is a new art term that evolved in the late 20th century when many strongly associated ink with traditional Chinese painting. It is also perceived to be a derivative of Chinese Painting (or Guo Hua). However, Ink Art is weaving its way into the mainstream contemporary art world with many opportunities for its development and evolution. There is no consensus among collectors, artists, and academics around the criteria that define Ink Art, but for many (and for the purposes of this exhibition) ink artworks are understood to be works created using water and ink

Ink Art in Hong Kong Hong Kong artists have been the key innovators in the modernisation of Ink Art over the past sixty years. During the formative years of the People’s Republic HENRIETTA of China – a time of much social and political uncertainty – Hong Kong was blessed with a relatively stable and open environment. The city experienced an influx of creative talent from China, many of whom settled down and became significant pillars of the local art community. The territory’s position as a British colony poised between East and West also allowed art to develop here in interesting ways, and naturally art circles in Hong Kong became more open to different influences. Inspired by the vision of late Ink Art master Lui Shou-kwan (1919–75), who believed that Ink Art should be globalised with a new vision and unlimited possibilities, the ink art movement has welcomed and encouraged artists from all over Mainland China and Asia, including Hong Kong, Taiwan, Japan, Korea and elsewhere. This environment gave birth to a new generation of talented artists in Hong Kong, who made significant artistic breakthroughs and furthered the evolution of Ink Art. Despite the growing interest of Ink Art in recent years, Hong Kong’s role as key incubator for the modernisation of ink has often been marginalised by important curators, who have been more focused on Ink Art in Mainland China.

Epoch in Ink – Inheritance and Transformation seeks to address this

imbalance by drawing attention to twelve prominent ink artists; Chan Keng Tin, Hung Hoi, Lee Chi Ching, Eddie Lui, Louis Mak, Winnie Mak, Ng Kwun Lun, Nina Pryde, Shen Ping, Wang Qiu Tong, Wong Hau Kwei and Zhou Jin. Some of these artists migrated to Hong Kong from China, others were born here.

Their different backgrounds allow them to engage with art in Hong Kong in a variety of ways, whether as a platform of exposure to Western techniques and perspectives, or as a way of re-connecting with the roots of Chinese culture.

The exhibition demonstrates how these artists have grown, evolved, and furthered the development of Ink Art. It is a unique opportunity to explore the transformation of ink from the early 60s to today, via the personal triumphs, struggles and reflections of the artists involved. The exhibition also explores how the artists have moved beyond traditional limitations on brushwork techniques and themes into new territory, which has allowed this vibrant and everchanging art form to blossom onto the international stage.

Organised by Asia Ink Research and The Ink Society, we hope that this exhibition will serve as a platform to promote Hong Kong’s cultural heritage and this significant group of artists. I want to take this opportunity to congratulate and thank Hing Chao of The Earthpulse Foundation for his hard work in putting together the Hong Kong Culture Festival, our title sponsor DC Foundation for their generosity, and Lynn Fung of Liang Yi Museum as our official venue partner who kindly made her museum available for the artworks and artists. Special

CURATORIAL STATEMENT

as the main visual language.

策 展 人 語 13

thanks also go to Pong Chun Yee and his team at The Ink Society for their support and advice.

Let us celebrate the foundation set by these important artists, who have been creating ground-breaking works over the last forty years, and bring their art to a global audience.

Henrietta Tsui-Leung Founder, Asia Ink Research Artistic Director & Curator September, 2015

二零一四年，作為亞洲藝術中心的香港日 益蓬勃，大約舉辦過二千個藝術展覽和活 動。與此同時，全球所有重要的國際拍賣 行，以及藝術博覽會，也開始在這片領土 上豎立根據地，並在過去幾年裏，吸引世 界級的藝術收藏家、專業人士和旅客匯聚 香港。香港的藝術發展速度，以及國際間 對香港藝術發展的關切，隨著興建香港西 九文化區的M+博物館概念的出現，而史無 前例地增長。在香港，水墨從現代到當代 語境的發展，吸引了本地及國際藝壇的關 注，亦成為現代和當代藝術的焦點所在。 何謂水墨？ 水墨藝術這個詞彙，是隨著藝術市場在二 十世紀末，慣於將傳統「中國畫」與「水 墨畫」連結在一起時，而延伸出來的全新 藝術詞匯。這個詞彙，又一說是由「國 畫」二字衍生而來。水墨藝術以經緯交 織方式，透過它廣泛傳播和不斷演變的特 性，滲入到主流的當代藝術世界。不過對 於「水墨藝術」這個詞義，由於水墨創 作的可能性和實驗性空間頗大，以至收藏 家、藝術家和學者尚未達至普遍共識，但 就是次策展的立場來說，水墨藝術就是眾 藝術家們仍然以水和墨這兩個元素，作為 主要的創作語言。 香港水墨 香港對於過去六十年間已徹底完成演變的 「水墨現代化進程」，無疑有著關鍵作 用 。回望過去，當剛成立不久的中華人民 共和國仍處社會政治環境動盪之際，香港 相對則有幸擁有穩定和開放的環境，很多 具天賦的藝術家從中國大陸湧到香港，並 定居於此，逐漸成為香港藝術發展的中流 砥柱。雖然香港是中國南方的一個都市， 但長久以來西風東漸的影響，東西方文化 在香港這片土地渾然交融。相對亞洲其他 地方，香港藝術界的獨特趣味性，令這些 具天賦的藝術家有更多機會，發揮他們所 長。

於六十年代早期，水墨界受水墨大師呂壽 琨（1919-1975）的啟發，認為水墨在未 來將逐漸成為全球化的新視點，因為他認 為水墨創作的可能性太高太廣，不會就此

有見及此，雖然近年各界對水墨藝術有著 不斷蓬勃的興趣，但作為在水墨界中起孕 育培養作用的重要角色，香港在水墨演變 的過程中逐漸被邊緣化，重要的策展人將 重點聚焦在中國大陸的水墨藝術。 《瀛墨世代．繼故鼎新》作為地脈基金會 主辦的「香港文化節」重要一環，有幸邀 請十二位知名的水墨畫家，包括陳鏡田、 熊海、李志清、呂豐雅、麥羅武、麥翠 影、吳觀麟、派瑞芬、沈平、王秋童、黃 孝逵和周晉，在是次展覽展出其具影響力 及突破性的作品 。上述各藝術家均來自不 同背景，例如：部份先師承中國藝術，再 受西方文化所啟發；部份先以學習西方藝 術為主，後被中國藝術所吸引。所以在他 們的水墨創作中，不乏中西文化交匯融合 的影子。 是次展覽，除了展示他們如何在中西方文 化的互相交流之下，發展出獨特水墨藝術 的同時，亦強調水墨藝術的重要性和貢 獻；觀眾亦能夠就這次難得機會，透過當 中十二位藝術家的心路歷程、成就、掙扎 與反思，了解到水墨自六十年代起至今的 演變。儘管水墨傳統限定了他們的繪畫技 巧和主題，但這些藝術家們都盡其所能， 透過不同方法，在不同方向作出突破，建 構出全新領域，並帶領這個充滿活力和不 斷變化的藝術形式於國際舞台上盛放。 由亞太水墨研究會及水墨會聯合主辦的水 墨展，將為這十二個藝術家提供更加全面 及國際化的平台，我們衷心希望這個獨特 的文化遺產，可以進一步通過不同的平 台，延伸到世界各地。僅想藉此祝賀並感 謝地脈基金會趙式慶先生帶來意義非凡的 「香港文化節」，並感謝滙溋基金慷概成 為是次展覽的冠名贊助，以及兩依藏博物 館館長馮依凌女士為是次展覽提供場地。 最後，感謝水墨會龐俊怡先生及團隊的支

持和專業意見。 此刻讓我們向一眾藝術家們表達敬意，表 揚他們過去四十年間不斷創新和對全球水 墨演變所作出的貢獻。 梁徐錦熹 亞太水墨研究會創辦人 藝術總監及策展人 二零一五年九月

CURATORIAL STATEMENT

褢足不前，要繼續賦予水墨無限可能。因 為他的高瞻遠矚，令當時的「新水墨運 動」影響了中國大陸、香港、台灣，以至 日本與韓國等地的一眾藝術家，激發了他 們的創作意念。香港獨特的環境孕育出新 一代具天賦的藝術家，其勇敢、創新的思 維對水墨的演變有著不可忽視的重要性。

策 展 人 語 15

陳鏡田

HUNG HOI

熊海

LEE CHI CHING

李志清

LUI, EDDIE

呂豐雅

MAK, LOUIS

麥羅武

MAK, WINNIE

麥翠影

NG KWUN LUN

吳觀麟

PRYDE, NINA

派瑞芬

SHEN PING

沈平

WANG QIU TONG

王秋童

WONG HAU KWEI

黃孝逵

ZHOU JIN

周晉

ARTISTS

CHAN KENG TIN

藝 術 家

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陳 鏡 田 CHAN KENG TIN Chan Keng Tin (b. 1974, Hong Kong) graduated with a degree in Fine Art from the Chinese Culture University of Taiwan in 2003. He received a Postgraduate Diploma in Visual Arts from The Chinese University of Hong Kong in 2006. In 2008, he joined the Luyushun Workshop of the China National Academy of Painting. He is currently a member of the Society of Chinese Ink Painting (Hong Kong) and lectures at the School of Continuing and Professional Studies of The Chinese University of Hong Kong.

陳鏡田，1974年生於香港。2003年畢業於臺 灣中國文化大學美術系，2006年獲香港中文 大學視覺藝術教育文憑，並於2008年加入中 國國家畫院盧禹舜工作室。現為中國水墨畫 學會（香港）會員，以及香港中文大學專業 進修學院導師。 作品《太魯憶遊》獲2009年第十一屆全國美 展優選作品，2011年於珠海市古元美術館舉 辦「門外滄浪——陳鏡田畫展」，作品《雲 海相攙》獲2012香港藝術館之當代藝術獎， 而作品《雲門露柱之一》獲第十二屆全國美 展優選獎。

His artwork Memory for Tour to Tailu Mountain received the Outstanding Award at the 11th National Art Exhibition in China in 2009. In 2011, he held his solo exhibition – Men Wai Cang Lang (“The Art Exhibition of Chan Keng Tin”) at the Guyuan Museum of Art, Zhuhai. In 2012, Cloud and Sea received the Hong Kong Contemporary Art Award, presented by the Hong Kong Museum of Art. His The Buddhist Subtleties 01 received the Outstanding Award at the 12th National Art Exhibition in China in 2014.

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

Firstly, let’s assume that “global ink movement” includes ink art in Mainland China, as well as overseas Chinese communities. With that in mind, it seems that Hong Kong Ink has been forgotten by the art world. Owing to its particular

geographical location and cultural background, Hong Kong Ink is unique.

But we have to be careful to acknowledge and support this uniqueness without ignoring links to the global ink art movement.

In the contemporary context, do you think the tradition of ink art should

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extend beyond ink and brush into other mediums?

This question seems a bit paradoxical – I think “tradition” needs to be conserved, as much as extended. As a type of painting, ink art is constantly growing and evolving. If we look at whether the core concept of ink and brush (in the tradition of Chinese ink painting) has limited the development of ink art in a contemporary context, then I think there are limitations.

The ink and brush tradition is valued on the basis of an aesthetic associated with literati culture and the integration of painting and calligraphy. But this is less relevant in the contemporary era. I believe ink art needs to strengthen the connection between ink and brush, but also move beyond it if it is to evolve.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

I think it is difficult to say, as Hong Kong Ink, like most ink movements, is not heterogeneous and all of the artists in this circle have their own breakthroughs.

an opportunity to observe trends in the world of ink art there. When I first arrived I focused on traditional landscape painting. I was invited to participate in a group exhibition at the China National Academy of Painting, and at one point I walked past my own work without noticing. That made me realise that the expressiveness of my work was limited, and so I began moving beyond traditional ink art.

The Buddhist Subtleties 02 雲門露柱之二

Ink and colour on paper 水墨設色紙本

171 x 180cm 2013

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

It is difficult to explain my inspirations.

Some come from my memories of travelling, others are scenes that come to me in dreams. Sometimes I work purposefully towards a particular objective. Mostly, my inspirations come from reading. For instance, Shan Hai Jing (“Classic of Mountains and Rivers”) inspired my artwork Xihuang Ruixiang, and my The Buddhist Subtleties series was inspired by a Buddhist story. For my latest creations, I try to avoid purely figurative landscape painting. The city of Hong Kong is more spiritually inspiring to me, such as the ways urban life and inner aspirations collide.

What is “New Ink” and what does the notion of “new” mean?

In my opinion, there isn’t a clear definition of New Ink, and it also overlaps with other movements like “New Literati Painting”, “New Gongbi Painting”, ”New Urban Ink” and others. I think what is new about New Ink is how it represents the contemporary era, as well as its expressivity and spiritual aspects.

Were there any special moments or incidents that have made a huge impact on you as an artist?

My journey as an artist is still ongoing.

I think my two years in Beijing had a huge impact, because they gave me

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

With my previous works, I tended to express sublime imagery such as magical clouds and grand mountains.

The composition consisted of largescale scenery and expressed the spirit of a place. However, I have found that this kind of work lacks emotion, and I tried to bring living creatures into my work. Eventually they became the main characters. Recently I have been using deer as the main theme of my work.

Initially this was because of their cultural significance to Buddhism (which is an

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Previous Page 前頁 Peace of Mind

area I often explore) but I later realised that the silent gestures of deer also convey my inner feelings and pursuits.

水墨風潮的動向和這一圈子的生態環境。初 到北京，我還在畫傳統山水，有一次參加國 家畫院的聯展，經過自己作品時竟然不知不 覺，方才驚覺自己表現語言上的不足，這一 年即開始了傳統筆墨以外探索。

您認為香港水墨在水墨界佔著一個怎樣的位 置?

您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？

先預設此題的「水墨界」，是指目前中國乃 至華人圈熱熱鬧鬧的水墨圖譜。香港水墨有 點像一個被遺忘的點火者。香港水墨有其地 理文化背景所造成的獨特性，但是太過強調 地區水墨的冠稱，也造成其在水墨大潮裏被 邊緣化的現象。

創作靈感是一個很難清晰解說的部份，有來 自山川遊歷的記憶，也有半睡時莫名閃現的 畫面，或是刻意為了某個目的嘗試，更多的 創作意念則是來自於閱讀。例如對《山海 經》的想像，創作了《西皇瑞象》這類的作 品，又如作品《雲門露柱》原是禪宗的一則 公案，就是此四字的額外想像。我目前的創 作盡量避開現實的景象描寫，所以香港帶給 我的是都市生活和心境追求上的衝撞，以及 那些碎片狀的形成。

法華安平

Ink and colour on paper 水墨設色紙本

34 x 170 cm 2013

Farewell (Partial View)

青山相送 (局部)

Ink and colour on paper 水墨設色紙本

52 x 96cm 2015

在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？ 這個問題有點矛盾，既是「傳統」就無所謂 延伸的需要，「傳統」需要的是保存。而 「水墨」這一繪畫門類則是一直在延伸著 的，自其門類形成起並無停歇過發展。如果 問題重心是 : 在水墨傳統裏視為核心的筆與 墨，是否局限了其在當代語境下的延伸，那 答案是必然的。筆與墨的核心分量，是在士 人文化的審美追求與書畫一體的基礎上被強 化的，此基礎在當代早已崩塌或已淡化，但 相信水墨既可在脫離筆墨的局限後得到發 展，也可以在強化筆墨體系間繼續延伸。 您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？ 據所了解的當代香港水墨面貌，其實相當複 雜，目前的香港水墨並無一個明顯能作為代 表的主流，而參與其中者，或多或少都有其 各自的「承傳」與「蛻變」。 「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 至今「新水墨」並無一個明確界線的定義， 「新文人」、「新工筆」、「都市水墨」等 都可掺入到所謂「新水墨」的範疇內，其 「新」之處大概在於當下時代表徵的體現， 以及表現手法和精神內容上的拓展。 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？

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我的繪畫旅程尚短，至今為止，在北京的兩 年經歷是較具影響的，使我有機會貼近觀察

在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 我早年的創作喜歡表現長雲浩瀚，山川莊嚴 的圖像，這類畫面都是些大場景構圖，較能 承載起對天地精神的追尋，但缺少了對個人 私密情緒的表達空間，所以嘗試把動物融入 畫面，並漸漸從點景式的配角轉變到畫面的 體。最近主題上多以鹿為主。初始選擇鹿， 是因為佛經內的文化象徵，而後感覺鹿的靜 默的姿態，更能傳遞我心境上的追求。

熊 Hung Hoi (b. 1957, Gulangyu, Xiamen) learned Chinese traditional painting from his father in his early years. In 1978, he moved to Hong Kong and studied under the reputed Chinese painter, Yang Shanshen. He taught at The Chinese University of Hong Kong, was Assistant Professor in the Department of Architecture of Hong Kong University and now lectures at the School of Professional and Continuing Education of Hong Kong University. Hung is also Museum Expert Advisor to the Leisure and Cultural Services Department, Expert Advisor of the Arts Capacity Development Funding Scheme, a member of the China Artists Association and Honorary President of the West Fujian Institute of Calligraphy and Painting.

Hung has held numerous major solo and group exhibitions, including a solo exhibition at Matsuya Ginza Gallery, Tokyo (1988), Hong Kong Artists Series – Hung Hoi at the Hong Kong Museum of Art (1996), Hung Hoi’s Art at the Dr. Sun Yat-sen Memorial Hall (Taiwan, 2004) and Spiritual Landscape - Hung Hoi’s Ink Art at the Shenzhen Fine Art Institute (2014). His artworks have been selected for the Contemporary Hong Kong Art Biennial Exhibition (1981–94), Collecting the 20th Century at the British Museum and the Paris International Salon Asia Art Exhibition, among others.

Hung Hoi has contributed much to the local arts scene, and in 1992 he was awarded the Urban Council Fine Arts Award of the Hong Kong Contemporary Art Exhibition, as well as the Fellowship for Artistic Development in 1997. More

海 HUNG HOI

recently, he received the Outstanding Award at the 12th Chinese National Art Exhibition in 2014. His works are in the National Art Museum of China, the British Museum, Hong Kong Museum of Art, Hong Kong Heritage Museum, National Taiwan Museum of Fine Arts, and Dr. Sun Yat-sen Memorial Hall. 熊海，1957年生於廈門鼓浪嶼。自幼跟父親 學畫，1978年移居香港後拜名家楊善深老師 習畫。1984年至今任教於香港大學專業進修 學院，曾兼任香港中文大學藝術系講師及香 港大學建築系助理教授。熊氏於多間藝術學 院和機構出任多個重要職位：香港康樂及文 化事務署博物館專家顧問、香港政府民政事 務局「藝能發展資助計劃」專業顧問、中國 美術家協會會員、珠海畫院藝術顧問及閩西 書畫院名譽院長等等。 熊氏曾舉辦多次個展和參與多個聯展，其 中包括日本東京松屋銀座美術展覽廳個展 （1988）、由香港市政局主辦於香港藝術館 舉行的「香港藝術家系列──熊海」（1996）、 台灣國父紀念館舉辦「熊海的藝術」（2004）、 深圳畫院主辦「心靈造境──熊海的水墨藝 術」個展（2014）等等。此外，熊氏的作品 曾入選多個藝術展，如「當代香港藝術雙年 展」（1981-1994）、大英博物館二十世紀 藏品展、巴黎國際沙龍亞洲藝術展等等。 因著熊氏對香港藝術的貢獻， 於1992年獲市 政局頒發「當代香港藝術雙年展」藝術獎， 並於1997年再獲香港藝術發展局授予「視藝 發展獎」。2014年，獲第十二屆全國美術作 品展覽「優秀獎」。其作品先後被中國美術 館、英國大英博物館、香港藝術館、香港文 化博物館、國立台灣美術館、台灣國父紀念 館、水松石山房等機構所典藏。

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Previous Page 前頁 Ravines of Tai Xing Mountains 太行萬壑圖

Ink on paper 水墨紙本 123 x 465 cm 2006

City Impression (Partial View)

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

Were there any special moments or incidents that have made a huge impact on you as an artist?

Hong Kong Ink developed before other contemporary ink movements in Mainland China, around the late 50s, and I think because of this it has left an indelible mark on the contemporary ink landscape.

In 1995 I went to Mount Hua for en plein air (“outdoor painting” in French) and stayed there for eight days. I witnessed the endless changes of nature, and Mount Hua’s spectacular scenery, majestic mountains and precipitous slopes never ceased to amaze me. I visited numerous attractions, always with my ink brush and paper in hand, to capture the mountain’s exquisite beauty, mistiness and my personal feelings. I was so enraptured that it led to a significant change in my artistic practice and the creation of a series of works about Mount Hua, most of them are large paintings.

城市印象 (局部)

Ink on paper 水墨紙本 69 x 137 cm 2012

In the contemporary context, do you think the tradition of ink art should extend beyond ink and brush into other mediums?

Traditional ink painting is more about expressing creativity and one’s inner nature than the materials used, so I believe the ink art tradition has boundless possibilities for development.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

Hong Kong Ink has inherited aspects from both traditional Chinese and Western modern art, a mixture of East and West. The development of new techniques and increasing cross-cultural exposure mean that all kinds of changes and transformations need to fit into one’ s personal style in order to create an original, innovative work.

What is “New Ink” and what does the notion of “new” mean?

It seems that there is no one precise definition for the term New Ink. I think it is helpful to instead view it as an interpretation of the changing status of ink art. New Ink is not restricted to certain themes, techniques, materials and motifs, but rather applies more to conceptual and philosophical ideas.

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What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

My greatest source of inspiration comes from living and travelling. In 2001 I went to a contemporary art and impressionist painting exhibition in Paris. It was my first time to be surrounded by numerous original Western paintings. The trip inspired me to create a series of acrylic paintings, using Western paints and materials, but incorporating Eastern elements and concepts. I have lived in Hong Kong for thirty-seven years and the city itself has had a profound impact on my artistic practice.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

The creation of real art forbids the following of trends, or drifting with the tide. Art must embody ideas, individuality, novelty, as well as national characteristics and the spirit of the times.

您認為香港水墨在水墨界佔著一個怎樣的位 置? 香港水墨運動始於五十年代晚期，比中國內 地早，應該在水墨界佔有相當的歷史地位。 在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？ 傳統水墨從來就不局限於筆與墨，而更加注 重個人修養和獨創精神。我認為傳統水墨有 無限的發展空間。 您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？

到巴黎觀賞了大量印象派繪畫和當代藝術。 平生第一次接觸到大量的原作，感受甚深。 回港後創作了一系列壓克力繪畫作品。用的 材料是西方顏料，但用筆、用色、構思、造 型、意境都具東方情懷，以我手寫我心。 我在香港生活了三十七年，她給了我創作的 自由和無限的啟發。

Czechia Impression Series 捷克印象系列

Ink and colour on paper 水墨設色紙本

每幅 25 x 35 cm each 2013

在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 藝術創作不能跟風從眾，隨波逐流，一定要 有思想、有個性、有新意、並具有民族特色 與時代精神。

香港當代水墨承傳了中國傳統藝術及西方現 代繪畫藝術。在現今資訊發達、文化交流日 益頻密的環境下，任何蛻變的方向，都離不 開跨媒材和跨文化的領域，契合個人獨特的 風格和技法，去創造新的語境和詮釋。 「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 「新水墨」一詞雖經常出現，因涵蓋的表現 手法頗廣泛，迄今仍未有具共識的定義， 它 只能說是水墨變革的一種狀况。新水墨之新 不局限於題材、技法、物料、圖像符號之 新，應該推廣到構思觀念和哲學意念的層面 上。 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？ 1995年登上華山寫生，在山上耽了八天， 全天候貼近華山變幻莫測的自然美景。山上 物廣人稀，景物卻氣象萬千，驚心動魄。所 見山崖險峻，巨峰劈面而來，雄偉連綿的山 脈，攝人的氣勢，加上不時風起雲湧，是寫 生絕佳之處。八天內我上下求索，踏遍了華 山各景點，每到一處，我必拿出帶備的宣紙 筆墨作寫生，將自己當下的感悟注落筆端， 有時寫實，有時對景創作，創作時特別喜將 華山雲霧中的姿態入畫。華山使我畫風大 變，自此與華山結下不解之緣，創作了一系 列以華山為主題的畫作，此中有不少是巨 幅。 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 創作的靈感主要來自生活和遊歷。2001年

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李 志 清 LEE CHI CHING Born in Hong Kong in 1963, Lee Chi Ching started his career as an artist in 1981, specialising in Chinese ink, Western art and comic arts. Lee is a former judge of the Montblanc de la Culture Arts Patronage Award and Chinese Golden Monkey King Award. He is a member of the Hong Kong Contemporary Artists Association and a consultant for the Hong Kong Comics and Animation Federation.

Lee has received numerous awards for his artistic achievements. His watercolour Emptiness was selected for the Contemporary Hong Kong Art Biennial Exhibition in 1992; and the following year, he published the comic Three Kingdoms which was well-received both in Hong Kong and Japan. His Sun Tzu on the Arts of War received the Most Honoured Golden Award in 2007 at the First Japan International Manga Awards.

Lee has been involved in many public art projects. In 2012 he created one of the largest paintings for Central Market, a Grade III historic building in Hong Kong.

Lee’s other famous works include The Legend of the Condor Heroes, The Water

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

Contemporary ink painting in Hong Kong had a head start on the mainland. Apart from the masters of the Lingnan School of ink painting and other renowned painters from Mainland China, Hong Kong has

Margin, and Confucius – The Analects. He has been collected by the Hong Kong Art Museum, China Comic and Animation Museum, The Peninsula Hong Kong and by many private collectors. 李志清，1963年生於香港。1981年開始從事 繪畫美術工作，包括漫畫、插畫、水墨畫、 西洋畫等。曾任中國動漫金龍獎專家顧問， 金猴獎以及萬寶龍國際藝術大獎香港區評 委。現為香港當代藝術家協會會員以及香港 動漫畫聯會榮譽顧問。 李氏的作品獲獎無數，1992年其水彩作品 《空》 入選香港當代藝術雙年展，並於1993 年出版《三國志》漫畫，在港日兩地大受歡 迎，成為首位成功打入日本漫畫市場的香港 漫畫家。2007年，他憑作品《孫子兵法》獲 得日本首屆「國際漫畫賞」最高榮譽之「最 優秀作品獎」。除了創作以外，李氏亦會參 與公共藝術項目。2012年，他為香港三級歷 史建築物中環街市外牆繪畫一幅全香港最巨 型的公共藝術創作。 李氏著名的作品包括《三國志》、《孫子兵 法》、《射鵰英雄傳》、《水滸傳》、《孔 子‧論語》等等。其作品亦先後被香港藝術 博物館、中國杭州動漫博物館、香港半島酒 店及私人收藏。

produced some of the most innovative ink masters, such as Lui Shoukun and Huang Bore. They successfully led the local ink movement and still have a farreaching impact on ink artists today.

In the contemporary context, do you think the tradition of ink art should

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Wu Xia 俠士圖

Ink and colour on paper 水墨設色紙本

68 x 138 cm 2013

extend beyond ink and brush into other mediums?

In the contemporary context, ink and brush alone are not enough to convey an idea. Restricting the medium and techniques of any art form limits its use. For example, Western watercolour painting is comparatively more colourful than Chinese ink, but it is not as expressive as Western oil painting, and today many Western artists incorporate both into their work. With so much attention on ink art, we have plenty of room to create new techniques. Ink painting should extend beyond ink and brush while maintaining the spirit of traditional ink painting.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

Compared with the literati tradition of painting from the Song Dynasty (960– 1279), contemporary ink has absorbed many Western elements from the visual arts and design. It put less emphasis on calligraphic techniques, with a greater focus on expression. It also moved beyond the subject matter of traditional ink painting (the interaction between the literati, nature and their playthings) to match changing trends and the needs of the market.

I believe Hong Kong Ink is comparatively more inspirational and expressive, especially when dealing with complex social issues.

What is “New Ink” and what does the notion of “new” mean?

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“New” emphasises the relationship between New Ink and the lives and thoughts of people today. New Ink also means to paint with new materials and different kinds of paper, brush and ink. New Ink has expanded to include Western paints and techniques such as

collage, rubbing and spray art, while maintaining its traditional spirit.

Were there any special moments or incidents that have made a huge impact on you as an artist?

I was touched while going through a painting album by the American artist Andrew Wyeth at age thirteen. His tempera paintings were very realistic, although the objects he depicted were simple, ordinary things you could find in any village. His work inspired me and made me want to become an artist.

2007 was another turning point in life. I was awarded Champion by the International Manga Award Championship, and became more wellknown as a result. This allowed me to go on to have many valuable experiences creating art for various governmental organisations and private companies.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

I am a perceptual person. I am moved by everything that happens on a daily basis.

Reading a book, watching a movie, going on a trip or seeing a leaf fall…all this inspires me to create.

I was born and raised in Hong Kong, and it holds great meaning for me. My family, friends and career here have all had a huge impact on me. People from Hong Kong have a global vision because it is a place of freedom, and a melting pot of East and West. Astride mainland China, Hong Kong has been nourished by five thousand years of Chinese culture; I feel as though this tantalizing history is so close, just waiting for me to explore.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly

stand out for you.

All creative exercises are a process of non-stop problem solving. Each art piece has different considerations. Sometimes it is an expression from an artist‘s heart or a response to society; sometimes it is imagining a new and unique world; sometimes it is just the need to work, to react to others’ thoughts and produce. An artist keeps changing his direction and he is the only one who understands the joys and sorrows within. Eventually, through the process of creating art he will realise what he actually wants.

您認為香港水墨在水墨界佔著一個怎樣的位 置? 由於歷史原因，香港水墨畫發展，曾經比中 國大陸還要走前。除嶺南派及一些來自國內 的畫家、大師外，本土更孕育不少創新水墨 大師，如呂夀琨、黃般若等大師。他們帶領 新水墨運動，盛極一時。至今天承傳這一脈 的畫家，仍活躍於水墨界，影響深遠。 在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？ 當代藝術語境，強調與現實對話和觀念性。 在「全球化」趨勢下，要回應當代的表現 力，限於工具的水墨藝術，則甚為薄弱。中 國的筆墨，對比色彩又不及西方水彩畫豐 富，表現力更不能與西方的油畫相提並論。 今天水墨百家爭鳴，我們可以利用「筆墨」， 也可創新技巧，但是不能脫離當中的精神。 您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？ 相對自宋以降的山水花鳥、文人畫傳統，當 代的水墨藝術，強調摻入西方繪畫的視覺元 素、點缐面平面設計及概念性。減少了筆墨 皴法技巧，也減少了書法題字的應用，更注 重現代的裝裱形式。 傳統書畫形式在於文人間私下的交流把玩， 出現手卷、扇面、掛軸等型式，但隨著現今 展覽展示的不同，水墨畫也多作大幅裝置， 與現代建築收藏需求結合。 繪畫精神內容也多向啟發性、控訴社會問 題，有別於傳統的個人抒發。

「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 名詞的出現，例如談論新水墨，或許是希望 標起旗旘，有新的發展。「新」在於契合當 代人的生活、思想，以至一切事物。「新」 要突破工具，使用各種紙、筆、墨。即便是 西方的油畫布亦可，西方的顔料也亦可，甚 至不同的手法，拼貼、拓印、噴灑等。重要 的是，不能脫離「水墨」精神與意韻，一切 都拋棄並非「新水墨」！ 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？ 在十三、四歲孩提時，我從一間圖書館中， 看到美國畫家魏斯 ( Andrew Wyeth ) 的畫 冊，被感動得無法以言語形容。內裏的蛋彩 畫非常寫實，題材只是一些鄉村事物，然而 就好像受到巨大的感召，我立志要成為一位 畫家，這個原點影響我日後向藝術發展。

Kung Fu (Partial View) 百武圖 (局部)

Ink and colour on paper 水墨設色紙本

96x178 cm 2015

Next Page 後頁 Echo of the Mountain 02 眾山皆響 (2)

Ink on paper 水墨紙本 138 x 34 cm 2013

另一個影響可以說是2007年，我奪得首屆 日本國際漫畫大獎的冠軍，令我的知名度大 增。不同的機構、政府部門及私人都找我合 作。創作不同的藝術，得到許多難能可貴的 經驗。 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 我本身是一個感性的人，對於社會發生的一 切事物，都會有所觸動。看一本書或一套電 影、去一個旅遊、一片樹葉掉下，心中都泛 起漣漪。有觸動，自然有想法，可以表現、 創作。 我生於香港，於斯成長，對這裏的感情自然 比任何地方都深厚。我的家人、朋友、事業 一切一切，都令這個地方有不同的回憶。香 港擁有自由，匯聚中西文化，出境方便，令 生於此的人們具備國際視野。背靠中國大 陸，也得到五千年中華文化滋養，歷史智慧 有無窮寳藏，令我得以去發掘。 在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 創作過程就是不停地解決問題。每一件作品 有不同的考慮，有時是發自我內心的抒發， 對社會的回應；有時希望創造一個獨一無二 的新世界；有時是工作需要，一種與其他人 思想的配合。過程中甘苦自知，創作也會不 斷轉變方向，要到最後才知道，自己想要的 是甚麼。

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呂 豐 雅 LUI, EDDIE Eddie Lui Fung Ngar (b. 1947, Hong Kong) received his formal training in visual arts at The University of Hong Kong under Jon A. Prescott, from 1969 to 1972.

He later completed a studio programme in contemporary ink art conducted by Lui Shou-kwan, Wucius Wong and Laurence Tam, at the same institute.

In 1973, he held his first solo exhibition at the Goethe-Institut, sponsored by the Hong Kong Arts Centre. Over the next two decades he received both the Urban Council Fine Arts Award, presented by the Hong Kong Museum of Art, and the Silver Jubilee Achievement Award, from the Hong Kong Visual Arts Society. In recognition of his contributions to the development of visual arts in Hong Kong and his support of the Hong Kong Visual Arts Society, he was presented with the Saluting VAS40+ Hong Kong Arts Award in 2014.

For the past thirty years, Lui has held numerous important posts in arts education and administration, including President of the Hong Kong Visual Arts Society (1978–82), Honorary Adviser to the Hong Kong Art Promotion Panel of the Hong Kong Government (1996–99) and Hong Kong Committee Chairman of the Federation of Asian Artists (1997– present).

Many important international institutions have collected Lui’s work, including the Guangdong Museum of Art, Jingdezhen Ceramic Art Museum, Chan Liu Art Museum (Taiwan) and the Ibrahim Hussein Museum & Cultural Foundation

(Malaysia). Locally, his work has been acquired by the Hong Kong Museum of Art, Hong Kong Heritage Museum, The University of Hong Kong Museum and Art Gallery, Hong Kong Arts Centre and The Hong Kong Academy for Performing Arts, among others.

Lui currently lives in Hong Kong, practicing visual art, 3-D design and working as a visual art consultant. 呂豐雅，1947年生於香港。1969至1972年 於香港大學專業進修學院兼讀由城市規劃師 百自覺先生主理的「藝術與設計三年制文憑 課程」。1972至1973年，在同一學院專修由 呂壽琨、王無邪及譚志成諸位先生主辦的現 代水墨工作坊。1973年，由香港藝術中心贊 助哥德學院舉行首次個人作品展。1981年， 獲香港藝術館香港藝術雙年展「香港市政局 藝術獎」。1998年，獲「香港視覺藝術協會 銀禧紀念創作無間大獎」。2014年，獲香港 視覺藝術協會「香港視藝四十載敬禮大獎」。 過 去 三 十 年 間 ， 呂 氏 曾 於 多 間 藝 術 學 院 和 機 構 出 任 多 個 重 要 職 位 ： 香 港 視 覺 藝 術 協 會 會 長 （1978－1982）、香港藝術館藝術發展 顧問（1996－1999）、亞洲藝術家聯盟 香港委員會主席（1997－現在）等等， 他對香港藝術界的貢獻是不可忽略的。 其作品先後被中國廣東美術館、江西景德鎮 陶瓷美術館、台灣長流美術館、馬來西亞伊 巴謙胡辛美術館、香港藝術館、香港文化博 物館、香港大學博物美術館、香港藝術中 心、香港演藝學院等機構所典藏。 呂氏現生活於香港，從事繪畫、立體設計及 視藝顧問工作。

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Late Autumn Fruity 楊桃餘香

Ink and colour on paper 水墨設色紙本

244 x 122 cm 2013

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

Contemporary ink actually originates in Hong Kong. Many contemporary ink artists have trained here since the 60s, taught by Lui Shou-kwan, a Chinese ink master, and at numerous universities. This new force has had a huge influence on contemporary ink development in Taiwan and Mainland China, particularly during the 70s and 80s. These eminent artists are still making art and influencing younger generations today.

In the contemporary context, do you think the tradition of ink art should extend beyond ink and brush into other mediums?

Contemporary ink inherited traditional Chinese painting materials but has also evolved to incorporate Western painting materials, techniques and styles. Wucius Wong, one of the pioneers of Hong Kong Ink, believes we can use materials besides water and ink to create Chinese ink paintings, and many agree, so I don’t think it’s limited in that respect.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

As with painting materials and techniques, contemporary Hong Kong Ink has inherited Hong Kong’s unique fusion of Western and Eastern cultures. It also benefits from an environment of freedom that supports artists’ self-improvement. I strongly believe that contemporary Hong Kong ink will have plenty of avenues open to it in terms of where it goes from here, technically and stylistically.

What is “New Ink” and what does the notion of “new” mean?

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New Ink represents the integration of traditional painting techniques with the language of contemporary art. It is the creative spirit and individual uniqueness of New Ink that sets it apart in the world of contemporary ink painting.

Were there any special moments or incidents that have made a huge impact on you as an artist?

Nigel Cameron, an art critic with the South China Morning Post, appreciated my artworks when he visited my first solo exhibition at Goethe-Gallery in 1973. He selected some for his Hong Kong Contemporary Art Exhibition. As a relative newcomer to the art world, that really boosted my confidence.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

I consider myself as an observer. With my training in visual language at The University of Hong Kong’s Department of Extra Mural Studies, I was eager to learn more about nature and my surroundings, which I incorporate in my work. I was always ill when I was young, and given my personal experiences with sickness, I also wanted to explore ideas about birth, senility, illness and death. Hong Kong itself is also a huge influence on my work. Once a small harbour, it transformed into an international modern city. It is constantly changing, and its pursuit of efficiency and professionalism have inspired me in many ways.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

I left the banking industry in 1994 and devoted myself to the art world and exhibition promotion. In 2005, I was employed as a project director,

supervising the conversion of an old factory building into an art centre, which became The Jockey Club Creative Arts Centre (JCCAC) and I its Chief Executive.

Even though it was challenging, I was able to get it to break-even in two years, which was impressive. Within five years of the JCCAC project, I discovered more about the nature of the project and realised the true “intention” behind it.

However, although it did not turn out entirely as I planned or expected, I am proud of the fact that I achieved many of the goals I had for the project within fifty one months. 您認為香港水墨在水墨界佔著一個怎樣的位 置? 現代水墨發源於香港。例如早於六十年代， 由呂壽琨先生及數間大學的校外課程部，以 講座及工作坊的模式教授新水墨的理念及技 法，培訓出一批從事現代水墨畫創作的香港 藝術家。這股新繪畫動力於七十年代也影響 了台灣的現代水墨發展。內地開放後，加快 地把這種被稱為「實驗水墨」的繪畫能量， 發展至遍地開花的境地。而這些卓然成家的 藝術家，大部份至今依然創作無間、薪火相 傳。 在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？ 現代水墨秉承了中國的紙筆墨硯，也因為天 時地利，吸納了中西繪畫的元素，早就超越 了地域、物料及形式的界限。王無邪老師很 早之前已啟示了無水無墨也可以創作水墨藝 術的宏觀理念。 您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？ 當代香港水墨承傳了香港「能中能西」的文 化特色，也是在「自由發揮」及「自我改 進」的環境中演變出來的現代繪畫語言，故 蛻變出更寬闊的當代水墨拓展空間，亦屬意 料之內。

特性，更標示着新水墨的當代性。 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？ 1973年在香港藝術中心的支持下，在歌德學 院舉辦了首次現代水墨畫個展，當時南華早 報的藝評家金馬倫先生非常欣賞我的作品， 很快將我的作品納入由他所推行的「靜默的 革命」的藝評家第一選擇「香港當代藝術 展」。這些機遇，對一個初出道的我，無疑 是一支極有力的強心針。 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 我自小是一個靜態的觀察者，自從接受了港 大校外課程部（現時的 HKU-SPACE ）三年 制的視覺語言訓練，更促使我熱衷地去師自 然。我從小體弱多病，因而養成了改進求存 的傾向，對於人類的生老病死，更是意圖了 解深入。

Previous Page 前頁 French Tomato in Winter (Partial View) 冬日紅茄 (局部)

Ink on paper 水墨紙本 244 x 122 cm 2013

Tangerine Dream 橘子符碼

Ink on paper 水墨紙本 151 x 95 cm 2010

香港由小商港蛻變至今天的大都會模式，我 是生於斯、長於斯的第一身經歷者。她的求 變、追求效率及專業運作的情操，也煉就了 我的創作習慣，讓我成為在煩囂中尋找寧靜 的畫人。 在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 有幸於1994年離開銀行界，投身藝術創作及 展覽推廣工作。2005年，受聘為工程總監， 監督了香港首次成功把一棟閒置工廠大廈改 裝為賽馬會創意藝術中心的方案；又於竣工 後獲選爲行政總裁，主理中心的開幕；及在 兩年的時間達致運作收支平衡，是一次最具 挑戰性的藝術行政任務。 前後五年之間的工序，我認識到項目持份者 的面目，也接收到用者五花八門的訴求。五 年下來，友好關顧何苦來由？我與最支持我 接受此項使命的伴侶，皆同聲告訴各人：呂 豐雅只用了五十一個月就完成賽馬會創意藝 術中心這件作品。

「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 新水墨代表着傳統繪畫技法與現代藝術語言 的融合。新水墨畫家的創新精神及個人的獨

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麥 羅 武 MAK, LOUIS Louis Mak (b. 1940) grew up in Chaozhou, Guangdong Province. Interested in art in his youth, he developed his distinctive style by composing sketches, watercolours, charcoal and oil paintings.

Mak studied under several reputed Chinese and Hong Kong artists, learning about Chinese landscape, flower-andbird and contemporary ink painting in the process.

麥羅武，1940年，廣東潮汕人。自幼熱愛藝 術，習素描、炭筆及西方水彩、油畫，從而 打下繪畫基礎。後追隨多位中港名家學習中 國花鳥、山水畫及現代水墨畫。近年專注研 究荷花題材的表現方法，創作了一系列有個 人語言的荷花作品。 2014年作品入選第十二屆全國美展港澳台 邀請展。現為香港理工大學院士、中國畫學 會香港創會副會長、香港美術家聯合會副主 席。出版有《千荷競奏──麥羅武作品集》。

Recently Mak has focused his attention on the forms, shapes and textures of lotus flowers. In 2014, his artwork Sonata No.1 was selected for the 12th National Exhibition of Fine Arts in China. He is the recipient of the Hong Kong Polytechnic University Fellowship, Founding Member and Vice-Chairman of the Chinese Painting Institute of Hong Kong, and also Vice-Chairman of the Hong Kong Joint Association of Artists. His book on lotus flower paintings, Concerto of a Thousand Lotuses – Paintings of Louis Mak, was published in 2009.

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

I believe that Hong Kong is a modern city with few historical burdens compared to other art centres. Likewise, because of Hong Kong Ink’s modernity and uniqueness, many international exhibitions and auctions have established bases here, and it is closely intertwined with the global ink movement.

In the contemporary context, do you think the tradition of ink art should extend beyond ink and brush into other mediums?

Art needs to extend beyond traditional thinking and techniques, otherwise it stagnates. Hong Kong Ink master Wucius Wong has extended his artistic practise beyond just traditional ink and brush. Using a wide range of media, he is able to express different spectrums of contemporary art. Many artists have followed his lead to take Hong Kong 51

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contemporary ink painting to another level.

Sonata No.1 (Partial View) 獨鳴曲之一 (局部)

Ink on paper 水墨紙本 180 x 104 cm 2014

Sonata No.6 獨鳴曲之六

Ink on paper 水墨紙本 121 x 116 cm 2015

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

I think Hong Kong Ink inherited the purity of Chinese ink, but also transformed into something more active, creative and multivariate.

What is “New Ink” and what does the notion of “new” mean?

In recent years, people have interpreted the concept of New Ink differently. I believe that the concept of New Ink is key to ink reformation. I draw inspiration from the Taiwanese ink master Liu KuoSung, who improved and developed his creative techniques to transform traditional concepts into something more contemporary. I think New Ink is about more than technical improvements. It is also about expression and how one presents the artwork to audiences, just like with abstract ink, experimental ink and freehand brushwork paintings.

Were there any special moments or incidents that have made a huge impact on you as an artist?

My artistic journey has been rather ordinary. I learned from different ink artists by studying their artworks. I am touched by the experiences of ink masters like Wu Guanzhong, Wucius Wong and Liu Kuo-Sung, who worked hard to develop a unique artistic language and style, and have had many artistic breakthroughs in their careers.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

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En plein air (“outdoor painting” in French), photography, art exhibitions, even listening to music – all of these can be a great source of inspiration. With its East-meets-West heritage, Hong Kong has always given me different experiences and inspirations that inform my art.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

Maybe it is because I have not received any formal training in painting, but I find I am able to express my creativity without restraint – although this lack of training may limit me in other ways. My ultimate goal is to have an artistic breakthrough, and I am working hard towards that.

您認為香港水墨在水墨界佔著一個怎樣的位 置? 我認為香港水墨所佔的位置是重要的。由於 香港富現代感、地形細小，卻沒有大歷史的 包袱，所以，香港水墨得以形成自己獨有的 特點及優勢。因此，如今不少國際美術展及 拍賣專場，也基於「港墨」獨特的市場背景 而出現。 在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？

匯聚的大都會，她經常為我帶來各方面的體 驗、啟發與創作靈感。 在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 我未受過正式的繪畫訓練，正因如此我背上 包袱不多，予人大膽創新的印象。事實上這 方面的矛盾每每也成為我創作時的轉折。自 我突破是終極目標，必須透過努力和不斷思 考來爭取。

Sonata No.4 獨鳴曲之四

Ink on paper 水墨紙本 122 x 116 cm 2014

藝術處於不同年代，都應該突破傳統思考， 甚至伸延技術，否則便會流於規範，難以破 格。例如香港水墨大師王無邪老師的創作， 早已跳出筆與墨的框架，兼容各種材料，令 意念發揮更自如、更多層次。當代水墨的意 念與演繹手法，絕對是形於筆與墨等工具以 上的藝術形式。 您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？ 我認為當代港墨承傳了水墨的純樸，而又能 蛻變成富動感的創新多元藝術。 「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 近年有關「新水墨」觀念的爭議不斷。概念 是「新水墨」的革新關鍵，像台灣水墨大師 劉國松老師，在創作技法上不斷改良與開 發，在傳統中革新出當代觀念。新水墨除了 技法的革新，還包含表現力，即呈現手法。 故衍生了抽象性水墨畫、實驗性水墨畫，甚 至具創意的寫意水墨畫等等。 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？ 我的經歷較為平凡，主要靠多看多實踐，欣 賞不同藝術家的創作，能啟發我的創作靈 感，正如看到吳冠中、王無邪、劉國松等老 師畢生努力創作，努力耕耘，尋求筆墨色彩 上的突破，建立專屬個人的一套藝術語言， 讓我深受感動。 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 寫生、攝影、看展覽，甚至聽音樂都會給我 不一樣的靈感。另外，香港是一個中西文化

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麥 翠 影 MAK, WINNIE Winnie Mak was born in Hong Kong.

She studied Chinese ink painting and calligraphy in Calgary, Canada in the 70s. She attended workshops organised by the late Lee Byng, Hong Kong’s foremost watercolourist, and Lam Chin Shek, a leading contemporary Chinese ink painter based in Canada.

Mak returned to Hong Kong in 1994. She co-initiated and conducted a series of experimental art classes for children aged three to fifteen. From the 90s onwards, she was involved in various art projects and the annual Asian International Art Exhibition of the Federation of Asian Artists. She is a key member of the Federation of Asian Artists Hong Kong Committee and was elected President of the Hong Kong Union of Visual Artists in 2013.

Mak has exhibited at the Asian Artists Workshop of the Office of Contemporary Art and Culture of Thailand (2013), The 27th Asian International Art Exhibition of Ratchadamnoen Contemporary Art Center, Bangkok (2013), Lines and Beyond: Contemporary Ink by Winnie Mak at A Gallery, Taipei (2014) and Contemporary Modern Exhibition at ION

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

As a bridge between East and West, Hong Kong is a cultural melting pot.

Consequently, Hong Kong Ink has incorporated both Western artistic

Gallery, Singapore (2014). 麥翠影生於香港。1970年代在加拿大卡城生 活，期間開始研習水墨畫及書法。曾參與由 已故香港水彩畫大師李秉先生及已故水墨畫 大師林千石先生的工作坊。 她於1994年回歸香港，在工作室為三至十五 歲兒童開辦一系列藝術教育課程。自1990年 代開始從事藝術項目管理及視藝創作，提案 多項公共藝術裝置活動及組織亞洲藝術家聯 盟香港委員會，並出席亞洲地區的《亞洲國 際藝術展覽會》及交流活動。2013年，麥氏 當選香港視藝聯盟會長。 麥氏曾參與海外及本地個人展覽和聯展， 其中包括泰國甲米舉行的亞洲藝術家工作 坊（2013）、泰國曼谷拉加達曼仁當代藝 術中心主辦的「第二十七屆亞洲國藝術展 覽」（2013）、台北市當代一畫廊主辦的 「境外之線──麥翠影的當代水墨創作」 （2014），以及新加坡現代藝術協會五十 周年邀請展「當前的現代」。 麥氏現居於香港，專注當代水墨藝術創作。

concepts and traditional Chinese ink and brush techniques. This puts the city in a significant and unique position in relation to the global ink movement.

In the contemporary context, do you think the tradition of ink art should 59

Snow Emotion 雪花飛

Ink and colour on paper 水墨設色紙本

144 x 75 cm 2015

extend beyond ink and brush into other mediums?

In the contemporary context, it is important to protect the traditional aspects of ink painting. But I believe that in order to be creative, you have to keep yourself open to various forms of expression.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

Hong Kong Ink has inherited various techniques, ideas and styles from the previous masters, and it has transformed and evolved into what it is today thanks to the individual characteristics and styles of individual artists.

What is “New Ink” and what does the notion of “new” mean?

New Ink represents the moment of creation, with the use of traditional techniques to express one’s personal style.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

Nature is my greatest source of inspiration.

Strolling through the parks in Hong Kong, admiring the grass slopes and silent woods along hiking tracks: these are the subjects of my work.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

I have not experienced many twists and turns while creating my works. I enjoy painting what I love.

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您認為香港水墨在水墨界佔著一個怎樣的位 置? 香港揉合中西文化。香港水墨，均有西方藝 術觀及傳統筆墨技法，在水墨界佔有一個獨 特的地位。

Previous Page 前頁 May Flower (Partial View) 五月花 (局部)

Ink on paper 水墨紙本 在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？

75 x 144 cm 2015

傳統水墨應該延伸，創作精神比較重要，可 接受多元化的表現方式。

Ivy and Chrysanthemum (Partial View)

您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？

長春藤與萬壽菊 (局部)

Ink on paper 水墨紙本 144 x 75 cm 2014

「承傳」了前人的技法、觀念及精神，「蛻 變」後的主調以個人風格為重。 「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 「新水墨」是當下的創作，根據傳統技法， 展現個人風格。 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 香港的郊野公園、行山徑上的一草一木，經 常是我寫生的對象，大自然是我創作靈感的 來源。 在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 創作過程沒有甚麽考量或轉析，我只是做我 喜愛的而已。

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吳 觀 Tony Ng Kwun Lun (b. 1964, Hong Kong) obtained a Diploma in Chinese ink painting at the Chinese University of Hong Kong in 1986 and Master of Fine Arts at the Royal Melbourne Institute of Technology in 2011.

Ng has exhibited at galleries and exhibitions, both locally and overseas, including the Contemporary Hong Kong Art Biennial Exhibition and the National Art Exhibition at the National Art Museum of China, Beijing, as well as New Ink Art: Innovation and Beyond at the Hong Kong Museum of Art (2008), Legacy and Creations - Ink Art vs Ink Art at the Shanghai Museum of Contemporary Art (2010) and Mongolia 360: The First Session of the Land Art Biennial (2010).

Some of the awards he has won include the Hong Kong Urban Council Fine Arts Award in 1994 and the 10th National Art Special Award a decade later.

麟 NG KWUN LUN

吳觀麟，1964年生於香港。1986年於香港中 文大學校外進修部修畢中國水墨畫課程，並 獲文憑， 2011年澳洲皇家墨爾本理工大學藝 術碩士。 吳氏曾參與超過七十個本地及海外展覽，包 括 「香港當代藝術雙年展」（1983、1989、1992 和1994）、北京中國美術館舉辦「全國美術 作品展」（1989、1994和2004）、香港藝 術館的「新水墨藝術：創新與超越」（2008）、 上海當代藝術館舉辦「承傳與創造──水墨 對水墨」（2010）、「蒙古360°:第一屆地 景藝術雙年展」（2010）等等。 此外，吳氏 亦曾獲得「香港市政局藝術獎」（1994） 以 及 「第十屆全國美術作品特別獎」（2004） 等獎項。 吳氏近年作品跨越不同媒體，由現代水墨作 品轉化到裝置、攝影、公共藝術、雕塑，與 及地景藝術，並參與設計及製作不少本地公 共藝術項目，作品可見於香港國際機場、濕 地公園、西貢視覺走廊、尖沙咀百年紀念公 園等等。 其作品為香港文化博物館，香港藝術館及私 人收藏。

In recent years, Ng has expanded into different media, from ink painting, installations and photography to public art, sculpture and land art (art created on site using natural materials). He has been involved in many local public art projects, including with Hong Kong International Airport, Wet-land Park, Sai Kung Visual Corridor, and the Tsim Sha Tsui Centenary Memorial Park.

His works have been collected by the Hong Kong Heritage Museum, Hong Kong Museum of Art and private collectors.

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A Passage to Gobi 戈壁行旅

Ink and colour on paper 水墨設色紙本

74.5 x 99.5cm 2013

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

Many of my experiences as a young man gave me confidence and faith in my work.

New Ink was a local cultural development in Hong Kong during the 70s and 80s. It started here earlier than in Mainland China and Taiwan, but from 90s onwards its development in Hong Kong slowed down and it has now fallen behind compared to similar movements elsewhere.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

In the contemporary context, do you think the tradition of ink art should extend beyond ink and brush into other mediums?

I believe that the future development of ink art should not be limited by specific techniques.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

Hong Kong culture is diverse and has incorporated the best from both the Eastern and Western traditions. The ink movement has developed its own unique language and style. The style of early abstract ink paintings, the use of mixed media, personal experiences and local collective memory have all influenced different aspects of ink work.

What is “New Ink” and what does the notion of “new” mean?

I don’t quite understand the term New Ink. Different art critics and curators have their opinions and point of views about what it means.

Were there any special moments or incidents that have made a huge impact on you as an artist?

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Everything can be a source of inspiration, from personal musings to interacting with the environment. Hong Kong has provided us with freedom of thought, which has given us the ability to appreciate and confront mainstream art from around the world. Unfortunately, in reality, the importance placed on utilitarianism in Hong Kong society is a great challenge for the artists.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

I have learned to follow my own inclinations, to paint without constraints and limitations in the pursuit of freedom.

您認為香港水墨在水墨界佔著一個怎樣的位 置? 水墨畫運動是香港上世紀七、八十年代，一 個發展迅速的本土藝術，時間上比中國和台 灣都早。但九十年代之後，則不如國內發展 之蓬勃和多元化。

Cultivation of Rock II 種石系列之二

Ink and colour on paper 水墨設色紙本

63.5 x 86cm 2013

在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？

Next Page 後頁

水墨藝術的承傳，或其發展的延伸方向，自 然不會局限於技法之內。

Moving Mountains Series III (Partial View)

您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？

89 x 58cm 2013

移山系列之三 (局部)

Ink and colour on paper 水墨設色紙本

香港有中西兼容的文化背景，我們可綜合不 同傳統文化的優點，發展成個人藝術語言和 風格，繁衍而成香港水墨面貌。由早期抽象 水墨、綜合媒體運用、個人生活、和本土的 集體回憶等題材，成就不同面貌之水墨作 品。 「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 我不太懂新水墨一詞，不同的評論家和策展 人都有他們的論述。 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？ 大概在少年時自學的經驗，給予自我肯定的 信念。 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 個人所思所想和現實的事物都可成為靈感的 來源。香港的環境給予很多思考自由的方 向，也便於面向世界各主流藝術，然而身處 香港現實社會，功利主義也是對一個藝術家 的嚴厲考驗。 在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 上下四方，古往今來，只求來去自如。意即 所有考量和轉折都無固定軌跡，在創作過程 中隨心所欲，率性而行，追求逍遙自在，無 所拘束。

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派 瑞 芬 PRYDE, NINA Nina Pryde was born in Hong Kong in 1945. She works in various mediums, including traditional and modern ink painting, calligraphy, prints, oil, acrylic, watercolours, sculpture and ceramics. In 2007, she received her Master’s Degree in Fine Arts from the Royal Melbourne Institute of Technology. She is a member of the Hong Kong Union of Visual Artists and Chinese Ink Painting Institute, as well as Honorary President of the Hong Kong Modern Ink Painting Society.

Her works have been exhibited in Art15, London (2015), Fine Art Asia, Hong Kong (2014), Reflections in Ink at the Hong Kong Central Library Exhibition Hall (2011), The 3rd Contemporary Chinese Painting Biennial Exhibition, Taiwan (2010) and others. In 2003, she was awarded second prize for Creative Artwork by the Association of Artists in PRC China (Guilin City) and Korea (Incheon City). Nina was also a finalist at the Hong Kong Contemporary Art Biennial Awards in 2013.

派瑞芬，1945年生於香港。三十多年前已開 展其藝術生涯，創作跨越不同媒介和形式， 包括繪畫、書法、雕塑及陶瓷等。派氏於 2007年獲取由澳洲皇家墨爾本理工大學與香 港藝術學院合辦之藝術碩士學位。現為香港 視藝聯盟和中國畫學會香港的會員，以及香 港現代水墨畫會的名譽會長。 派氏曾舉辦數次個人展覽，亦積極參與多個 香港及海外聯展，其中包括ART15倫敦藝術 博覽會（2015）、香港「典亞藝博2014」、香港 中央圖書館展覽館的「默墨迴響」（2011）、 台灣第三屆當代水墨雙年展巡迴展（2010） 等等。2003年派氏曾獲得中國桂林、韓國堤 川市美術家協會頒發的創作藝術第二獎，並 於2007年獲得澳洲皇家墨爾本理工大學的優 秀學生作品獎。2013年，派氏作品入圍香港 當代藝術雙年獎決賽。 作品獲香港大學美術博物館、置地文華東方 酒店，以及其他私人機構及藝術愛好者收 藏。

Her works are in the collections of The University Museum and Art Gallery of Hong Kong University and The Landmark Mandarin Oriental Hotel, as well as many private organisations.

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

From the 60s to the 80s, artists such as Lui Shou-Kwan, Wucius Wong, Liu Kuo-Sung,

Irene Chau and Leung Kui-Ting broke away from the traditional forms that had characterised Chinese ink painting for two thousand years. They developed a more dynamic and radical style using powerful brush strokes and the extensive use of

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Dusk 傍晚

colour, often with abstract compositions, all of which are important trends in ink painting today.

Ink, mixed media collage on paper

水墨, 混合媒介紙本 136 x 204 cm (每幅136 x 68 cm each) 2015

In the contemporary context, do you think the tradition of ink art should extend beyond ink and brush into other mediums?

The modern ink painter has many tools at his disposal, from various washes, immersion dyeing, splashing and collage, all of which can be used on a variety of materials. Installation art also has a place in the contemporary ink scene.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

Artists in pre-modern China tended to concentrate on expressive and stylised landscapes and scenes featuring people, animals, birds and flowers. Hong Kong Ink artists today continue to paint landscapes, but use abstract forms and a wide range of modern techniques that have made ink painting more impressionistic.

What is “New Ink” and what does the notion of “new” mean?

New Ink is a reference to the development of modern, impressionist ink painting that started to influence the very conservative tradition of literati and vernacular painting that dominated Chinese art until the Cultural Revolution in the 70s. In fact, the seeds of New Ink were sewn in Taiwan, Hong Kong and France - where many of the more adventurous ink artists had fled during the turbulent times of the Japanese invasion of China and the Revolutionary Wars. Freedom unleashed creativity.

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Were there any special moments or incidents that have made a huge impact

on you as an artist?

The moment that has probably influenced my art career more than anything else was my doctor telling me in 1990 that I had to stop making ceramics or risk permanent damage to my hands. I was a very keen ceramicist after entering the art field in 1981 and I believe I had developed a certain talent for ceramics.

But the continuous working of the fingers kneading damp clay led to arthritis in my finger joints which was very painful. So I turned to painting and ink art.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

Over the past twenty years I have been lucky enough to travel extensively and have visited many places of incredible natural beauty and great cultural diversity.

One cannot help but be inspired by these views. As I am a compulsive photographer, I seldom go anywhere without my Leica and the thousands of photos I have taken have sparked the creation of many art works. I often use collage from photos to insert fine details into my paintings.

Hong Kong is undoubtedly one of the greatest cities in the world with a spectacular skyline and a feverish level of activity. The sheer energy of Hong Kong and its unique sights and sounds are a rich source of inspiration.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

I rarely change my mind about the creative direction of my paintings. When I start a new painting I have a very clear idea of where I am going and I sketch in the outlines with confidence. Wucius Wong taught me to be bold! When I am working on the details I do make changes in order to bring the painting together,

but the overall concept does not change.

At the end of the day it is my work and I have to live with it. 您認為香港水墨在水墨界佔著一個怎樣的位 置? 在中國古代名畫家的風格及技術，和從台灣 與西方世界流出之現代主義的影響中，香港 一直擔當著橋樑的角色。在六十年代及進入 八十年代的藝術家，僅舉幾例如呂壽琨，王 無邪，劉國松，周綠雲和梁巨廷，他們都脫 離中國水墨畫二千年的傳統形式，使用強大 的筆觸和豐富的色彩去建立更加動感和激進 的風格，這往往包含了抽象的意識，而且這 種趨勢一直持續到今天。

苦。自此，我成了一個畫家，並最終成為水 墨藝術家。

高山流水 (局部)

您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？

Ink, mixed media collage on paper

在過去的二十年裡，我一直很幸運，能夠走 南闖北，到過很多地方欣賞自然風光和探索 各地文化，這都能激發我的創作意念。我 熱愛攝影，每次旅行都與我的Leica相機同 行，並在千張照片中激發我的創作靈感，我 亦經常將照片拼貼到我的畫中，並加入細 節。

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香港無疑是一個偉大的城市，擁有壯觀天際 和活動狂熱。香港的龐大能量，它的獨特景 象和聲息是靈感的來源，這是我的家！

在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？

在創作的過程中，您有甚麼樣的考量或轉折 嗎？

現代水墨畫家可以用潑墨、漂色、渲染、噴 畫和拼貼的形式於各種各樣的材料上創造自 己的風格，另外裝置藝術也佔有重要地位。

其實我從來沒有真正改變過我的創作觀念。 當我開始創作新畫時，我已經很清𥇦明確地 和有自信做一個淡描。王無邪老師教我們開 始時要大膽落筆！細心收拾，漫長收拾中， 把我的意念、拼貼概念連成一體，完成一件 派瑞芬的作品。

您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？

Lofty Mountain (Partial View)

水墨, 混合媒介紙本 62 x 45 cm 2015

High Noon 日觀

Ink, mixed media collage on paper 水墨, 混合媒介紙本 30 x 220 cm 2015

中國古代的大師往往集中於風景和寫生，包 括程式化的人物、動物、花鳥等。雖然今天 的香港水墨畫家繼續畫山水，但都使用抽象 形式，而且範圍更廣泛，將藝術從現實主義 發展到印象派的意念觀感。 新水墨」一詞於藝術界一次又一次出現，何 謂「新水墨」？「新水墨」新在何處？ 新水墨代表了現代印象派水墨畫的發展，它 自七十年代開始影響到保守和寫實派，並主 宰中國藝術。其實早已於日本侵略中國和革 命戰爭年間，新水墨就開始了。在台灣、香 港和法國的文革中，當中包括不少冒險的水 墨藝術家，在動盪時期逃離，並釋放其創造 力。 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？ 最影響我藝術生涯的往事，莫過於在九零年 我的醫生告訴我，我雙手已經長期勞損，不 得不退出一直喜愛的陶瓷創作。我自八一年 起醉心創造陶瓷，並希望將會有一定成就。 不過造陶瓷令手指長期在潮濕的粘土連續工 作，導致關節炎而使我的手指關節非常痛

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沈 Shen Ping was born in Beijing in 1947. A renowned ink painter, watercolourist and oil painter, he originally studied comic production at the Zhejiang Academy of Fine Arts in 1974. His works have been selected for the China National Art Exhibition, Beijing International Art Biennial and Hong Kong Contemporary Art Biennial.

Shen is Person-in-Charge of the China Artists Association, Hong Kong, Vice President of Hong Kong Art Association, Vice-Chairman of the Hong Kong Artists Society, Chairman of the Hong Kong Watercolour Research Society, and Person-in-Charge of the Hong Kong Cultural and Art Foundation, among other roles. He is the course instructor at Hong Kong University Space and Hong Kong Visual Arts Centre.

平 SHEN PING

沈平，1947年生於北京。為香港著名水墨 畫、水彩畫及油畫家。1974年入讀浙江美術 學院連環畫進修班，師從顧生岳、徐永祥、 吳國亭等教授。作品多次入選全國美術作品 展覽、北京國際雙年展以及香港當代藝術雙 年展。 除了從事創作外，沈氏還出任多個公職，包 括中國美術家協會理事、香港美協副主席、 香港畫家聯會副會長、香港水彩畫研究會會 長、香港藝術發展局視覺藝術委員會評審員 及香港文化藝術基金理事等，並擔任香港大 學專業進修學院及香港視覺藝術中心導師。 其作品先後被中國美術館、香港藝術館、香 港文化博物館、香港大學美術館、香港夏利 豪基金會、中國亞洲水彩藝術博物館、上海 全華水彩藝術館、新鴻基集團等機構及私人 所收藏。

His works have been acquired by the National Art Museum of China, Hong Kong Museum of Art, Hong Kong Heritage Museum, University Museum and Art Gallery of the University of Hong Kong, Philippe Charriol Foundation, and the Asian Museum of Watercolour Art, as well as by many private collectors.

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

Since the Lui 60s and 70s, a brand new This changed

Shou-kwan period in the ink masters have created era for Hong Kong Ink. the course of ink art in

Mainland China, Macau and Taiwan.

As contemporary ink art becomes more successful and popular especially in the Greater China region, we should always remember the role Hong Kong played as a catalyst in its development.

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In the contemporary context, do you think the tradition of ink art should extend beyond ink and brush into other mediums?

Ink and brush are essential tools in creating ink art, but I believe expression and original thought are more critical features of contemporary ink painting.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

Traditional ink painting is an important link between inheritance and transformation.

Without tradition, art is a flock of sheep without a shepherd – it lacks cohesion and guidance. Even though we cannot neglect the importance of tradition, we still have to move forward. The adage “development is an absolute principle” applies to ink painting as much as anything else.

valuable experiences in terms of my development as an artist.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

Hong Kong Sunset 香江餘暉

Ink on paper 水墨紙本 120 x 90cm 2012

Having lived in Hong Kong for thirty six years, this city and its people have given me numerous opportunities to learn and develop artistically and as a person. I am grateful for what Hong Kong has taught me, and I will continue to draw on it for inspiration and depict it in multiple ways as I develop my artistic skills.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

I have learned that is important to be modest, learn from different teachers, and be mindful and purposeful moving forward.

What is “New Ink” and what does the notion of “new” mean?

Hong Kong Ink has now reached a diverse and mature stage in its development, with distinct regional differences between Mainland China, Taiwan and Macau. It references tradition, but includes many diverse styles and is constantly changing.

I don’t think we should worry too much about the term New Ink. Every artist is constantly looking for new challenges, and they rarely stick to one technique or mind-set. New Ink will continue to develop organically as time passes.

Were there any special moments or incidents that have made a huge impact on you as an artist?

I have encountered many opportunities and have met many inspiring artists, both teachers and peers. All have been

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您認為香港水墨在水墨界佔著一個怎樣的位 置?

繼續努力。

早在呂壽琨時代（上世紀六、七十年代）， 他們開啟了香港現代水墨之路，並逐漸影響 了中國內地和澳門、台灣地區。今天，大中 華地區的水墨畫壇，己呈現岀百花齊放，欣 欣向榮的多元局面，同時，也理應記住香港 曾起過的重要作用。

在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 虛心研究各家之長，認真思索，繼續前行。

Previous Page 前頁 Yacht Club (Partial View) 遊艇會 (局部)

Ink on paper 水墨紙本 28 x 38cm 2014

在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？

Causeway Bay

筆和墨是不可缺的工具，但思維和觀念也許 更為重要。

Ink on paper 水墨紙本

銅鑼灣

28 x 38cm 2014

您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？ 傳統水墨是承前啟後的重要連接。沒有傳統 就沒有今日之水墨。但不能死抱住傳統不 放，任何事物都要向前推進和發展，「發展 是硬道理」，水墨同樣如此，固守陣地，不 如主動出擊，向外拓展和延伸。 「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 當代香港水墨到今天，我認為已呈多元化態 勢。且和內地、台、澳地區也有極明顯的分 別。既有傳統的痕跡，也有各種風格的突 顯，而且可以看到還會有不斷的新變化。所 謂「新水墨」，其實不必太在乎用詞，新水 墨一路發展，會不斷更新，每位畫家都在求 新，都不會固守舊有的表現手法和思維路 向。所以，一切順其自然，就會有新的氣 象。 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？ 在我成為藝術家的過程中，曾遇到許多機 遇，許多幫助、扶㨁、啟發我的老師和同 道，他們的經驗和教誨會使我一生受用無 窮。 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 來到香港已有三十六年的光景，這塊充滿傳 奇的土地和人們給了我許多的機會，使我得 以生存和發展。我感恩香港，我沒有理由不 去描繪她美好的一面，雖然手拙技窮，但會

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王 秋 童 WANG QIU TONG The work of Wang Qiu Tong (b. 1944) has been extremely influential in the field of ink painting. In addition to playing a fundamental role in the modernisation of Chinese ink painting, Wang created a brand new style of ink art - “Urban Ink”.

Wang is Vice President of the Hong Kong Artists’ Association, Executive Chairman of the Chinese Ink Painting Institute, Hong Kong, President of the Hong Kong Culture and Arts Exchange Association, and is a council member of the Chinese Ink Painting Institute and member of the China Artists’ Association, among other roles.

He has exhibited his works at The International Ink Art Biennale of Shenzhen (2002), The Shanghai New Ink Painting Art Exhibition (2009), Hangzhou Xihu Expo (2013), Scenery in Hong Kong (2014) at City University of Hong Kong, and The Beijing International Art Biennale (2015).

王秋童，生於1944年。當代中國重要的藝術 家之一，中國當代都市水墨的創立者和開拓 者，上個世紀九十年代他以「都市水墨」成 就了中國水墨畫的新領域，在現代中國水墨 歷史上有著重要的影響力和地位。現為香港 美術家協會副主席、中國畫學會香港執行會 長、香港文化藝術交流協會會長、香港美術 家聯合會主席、中國畫學會（全國）創會理 事、中國美術家協會會員。 代表作品經常參加國內外美術作品展並多次 獲獎，其中包括「深圳國際水墨雙年展」 （2002）、「上海新水墨大展」（2009）、 「杭州西湖藝術博覽會」（2013）、香港城 市大學舉辦「港景港情──香港都市水墨作 品展」（2014）、「北京國際美術雙年展」 （2015 ）等等。 其作品先後被深圳美術館、中國美術館、香 港藝術館等機構以及收藏家所典藏。

His works have been collected by various institutions, including the Shenzhen Art Museum, National Art Museum of China, Hong Kong Museum of Art, and numerous private collections.

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

Hong Kong Ink has had a formative role in the world of ink art. If we look back at the Chinese ink movement in the 80s, I believe Hong Kong Ink, thanks

to its relationship and proximity with traditional Chinese culture, contributed much to the development of early “New Chinese Ink”. At the same time, because it is distinct from traditional Chinese ink painting, as well as Western art, Hong Kong Ink represents a distinctive regional

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style that emerged in a unique location and in a mixed cultural context. I think these unique cross-cultural qualities give Hong Kong Ink a special place in Western and Eastern culture.

In the contemporary context, do you think the tradition of ink art should extend beyond ink and brush into other mediums?

The development of traditional ink (which is a different concept from traditional Chinese painting) has been in step with the development of modern society, and it is always evolving. In an era of globalisation and rapid technological advances, ink art is changing faster than in any other historical period. Contemporary Hong Kong Ink is an extension of previous ink painting traditions in Hong Kong.

I think ink and brush, should be thought of as a language as well as a tool. The language is so much a part of the spirit of ink art; that all ink art, even prints created and printed using a computer, still belong to the category of ink and brush.

Nevertheless, I think actions are subject to ideology, and if we want to move beyond ink and brush, we need to start with our ideology. It is a great question, but there are many larger issues involved and I cannot express myself fully here.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

In my opinion, contemporary Hong Kong Ink has inherited the unique regional culture of Hong Kong, representing a mix of Western and Eastern cultures. This uniqueness is also the reason why Hong Kong Ink has found itself a niche in the art world. I think we can observe trends in the way Hong Kong Ink will progress based on where it comes from.

What is “New Ink” and what does the notion of “new” mean?

In my point of view, New Ink is simply ink art that has evolved beyond earlier ink movements, like a new record in sports.

Were there any special moments or incidents that have made a huge impact on you as an artist?

In 2002, one of my foreign friends read an album from a Sichuan contemporary Chinese ink exhibition curated by a friend of mine, Mr. Wang. When he finished reading, he asked, “how long did it take the artist to create all these artworks?” I told him that the show consisted of artworks from four hundred artists. He was confused. “why do these four hundred artists have almost the same style?”

I have been puzzled by this experience for years: is it because my friend does not understand Chinese ink painting? Or is it because Chinese artists cannot paint?

Or just as the art critic Li Siushan said, is it because Chinese ink has reached the end of its era? Why do all Chinese ink paintings have similar styles? Perhaps it is because of the advance of modern technology. Do we need to go back to living in isolation in the mountains and dedicate ourselves fully to art? Is that how we can avoid copying each other’s styles?

These questions remain unresolved.

The ink painter Wu Guanzhong once said that “if one does not have a unique painting style, it will be better for him to sell fresh meat at the wet market instead!”

I agree, and I think that we should not call someone an artist if their character does not appear in their work.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

My Urban Ink series derives from fancy

metropolitan buildings in Hong Kong, in an attempt to represent the prosperity of a modern international city. The Eastern beauty and the poetic imagery of Victoria Harbour was the greatest source of inspiration for my Urban Ink series. Every time when I go up to Victoria Peak or Lion Rock, I cannot hold back my excitement, and that feeling inspires me and gives me the motivation to paint.

Previous Page 前頁 Underneath the Victoria Peak (Partial View) 太平山下的輝煌 (局部)

Ink and colour on paper 水墨設色紙本

145 x 220cm 2012

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

The incident with my foreign friend and Chinese ink painting made me wonder where Chinese ink should go in the future.

Personally I have switched my creative direction from traditional Chinese painting, such as landscape and birdand-flower painting, to contemporary ink, and I am not looking back. Although Hong Kong Ink is somewhere in-between Western and Eastern styles of painting, I think it contains certain valuable elements from both.

My exploration of both traditional Chinese and Western painting serves me well in my artistic practice. I hope Hong Kong artists will put effort into exploring new possibilities in ink art. I am proud to live here and to call myself a Hong Kong Ink artist.

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您認為香港水墨在水墨界佔著一個怎樣的位 置?

特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？

在過往與現在，香港水墨在水墨界佔據一個 重要的位置。回溯上世紀八十年代中國的水 墨運動，在一水之隔的英治香港，近親文化 的「港式水墨」，為剛衝破傳統桎梏和文革 政治禁錮的「中國新水墨」的初期發展提供 了借鑑。「港式水墨」既不同於中國傳統的 水墨，也不同於西方的繪畫模式，是一種在 獨特的地理位置和中西文化交融的語境下產 生的本土文化，其特殊性、藝術性對中西任 何一方都有參考價值。在未來，「港式水 墨」將會繼續受到重視。

本世紀初2002年，一位外國朋友看了一本由 我一位四川朋友王先生策展的「中國當代山 水大展」的畫集，他看完畫集問我：「這位 畫家畫這麼多畫，畫了多久？」我回答他， 畫集裏的畫是四百位畫家每人一幅的作品， 非「一人所畫」。他很不解地問：「為甚麼 四百多人畫的都差不多都是一樣的風格？」

在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？ 傳統水墨與時代的發展同步（傳統水墨不等 同於傳統中國畫），一直都在變化延伸。在 當代科技過分發達和世界文化經濟漸趨一體 化的今天，「水墨」的發展和變化，比歷史 上任何一個時期都快，今天港式水墨也是昔 時「港式水墨」的延伸。 筆與墨可以理解為語言和工具，它與「水 墨」有不能割離的聯系，用電腦打印創作出 來的水墨作品，也離不開水和墨在畫面上滲 化的語言特式。但人的一切行為都受意識形 態所支配，水墨的延伸，應先從意識形態開 始。在筆墨以外的空間，或許留待我們去發 現、創造和延伸。（這問題問得好，但涉及 的話題既廣又多，非三言兩語能表達） 您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？ 當代港墨承傳了香港特有的「本土性」，不 中不洋，走自己「港水港墨」的特式，這樣 才能迄立於水墨藝林叢中而不凋。將來又會 蜕變成甚麼？我想是在我們視綫內能預見到 的，不會偏離現在的主軸線太遠。在大中華 主體文化的涵蓋下，與西方怪誕文化還有一 段距離。一句話，它的蜕變或許不會太離 譜！視綫以外的就不可能預見了! 「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？

Sights of Victoria Harbour 華燈初上

Ink and colour on paper 水墨設色紙本

90 x 93cm 2004

這事引發了隱藏在我心中多年的困惑：是我 這位洋人朋友看不懂中國畫，抑或是我們中 國人畫不好中國畫？中國畫不會是如李小山 所說的，已走到了窮途末路吧！「中國畫」 千人一面的徴結何在？是不是現代社會資訊 過度發達泛濫所致？我們是否要避開太多的 交流，回到古人退隱山林草舍去閉門創作？ 如何能杜絕模仿抄襲之風？這些令我困惑多 年的疑團至今尤未能解開。吳冠中先生說過 這麼一句話：「畫畫沒有風格，不如轉行賣 豬肉！」我也認為，畫畫沒有個人風格者， 不能稱為畫家！ 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 我的「都市水墨」都是取材於香港奇特的樓 宇建築，盡顯大都會的巨構氣派！美麗的維 多利亞夜色冠稱為「東方之珠」，我大多描 繪香港夜色的作品，都在此得到了靈感。維 多利亞海港那東方詩韵之美的幻景，是我創 作水墨都市靈感的源頭。每當我登上太平山 或獅子山，都難以抑制心中的激動，創作的 衝動也由此產生。 在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 2002年《中國當代山水大展》四百人一面 的故事，令我反省傳統中國畫未來應怎樣轉 換。我從傳統的中國畫山水、花鳥，已轉折 到當代水墨，現在我不會再走回頭路。我認 為「港式」水墨雖然不中不西，但它內裏也 有中有西。我早年學到的中國畫傳統，以及 西洋畫基礎，正好學以致用，在水墨畫廣闊 的藝術空間裏，期待著我們更加努力地去拓 展和探索。我無悔做一個香港人，也無悔做 一個走在「港式水墨」路上的修行者。

剛出現的有別於已出現的水墨。它的「新」 就是人們剛發現它，只要它其中有一小部份 或大部份有別於已岀現過的同類。如在運動 場中只比舊紀錄快零點一秒都可以稱為新紀 錄。 在成為藝術家的旅程當中，有沒有發生一些

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黃 孝 逵 WONG HAU KWEI Wong Hau Kwei (b.1946, Chongqing) graduated from the China Textile University in Shanghai in 1969. He studied painting under the renowned painter Wang Zhou and was deeply influenced by him. Wong moved to Hong Kong in 1978, returning to China briefly as a visiting artist of the Shenzhen Fine Art Institute. He is a board member of the Chinese Painting Institute, Hong Kong.

Wong has received numerous awards for his artistic achievements, including the National Exhibition of Arts in China Award (1999 and 2000), the Secretary for Home Affairs’ Commendations, Hong Kong Contemporary Art Award (2001 and 2009) and the Hong Kong Achievement Award in Contemporary Art (2012).

黃孝逵，1946年生於重慶。1969年畢業於上 海中國紡織大學機械系。曾追隨黃胄先生習 畫，深受其影響。1978年移居香港。曾為深 圳畫院客座藝術家，現為中國畫學會理事。 黃氏歷年來獲獎無數，其作品曾於第九屆 和第十屆全國美展獲得優秀獎，兩次獲香 港民政事務局局長嘉許狀、香港藝術雙年 獎（2001和2009），以及香港當代藝術獎 2012獲優秀藝術家獎。 其作品先後被中國美術館、香港藝術館、深 圳畫院，深圳關山月美術館、中國畫學會等 所典藏。

His works have been collected by the China National Museum of Fine Arts, Hong Kong Museum of Art, Shenzhen Art Institute, Guan Shanyue Art Museum, Chinese Painting Institute, and others.

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

We organised the Hong Kong Contemporary Ink Art Exhibition at the Beijing Fine Art Academy in July, 2014.

At a seminar, the famous cultural worker Wang Luxiang noted that “Chinese ink presents itself in numerous forms, sometimes it appears in an unexpected way, to show its existence in a modern society like Hong Kong.” I think this

art exhibition inspired us and gave us confidence in the future development of Chinese ink art.

In the contemporary context, do you think the tradition of ink art should extend beyond ink and brush into other mediums?

It is inevitable that the tradition of ink art will grow and change. It is not necessarily about ink and brush; it is more about new

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Rocks in Taining

ideas and states of mind.

泰寧奇石

Ink and colour on paper 水墨設色紙本

每幅 138 x 69 cm each 2015

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

Hong Kong Ink works have inherited the traditional materials and techniques of Chinese art, but have been transformed into unique pieces of contemporary art via the beliefs, philosophies, knowledge and different interpretations of the artists.

What is “New Ink” and what does the notion of “new” mean?

To be honest, I find the term New Ink quite offensive. New Ink describes this artistic medium as the spirit of ink, differentiating it from forms of Western art like installation, digital and performance art.

Rather than arguing over the differences between New Ink or “Traditional Ink”, we should focus on the core meaning of ink art.

Were there any special moments or incidents that have made a huge impact on you as an artist?

When I was young I used to like figurative paintings - portraits in particular. In the 70s I studied painting under the master Huang Zhou and was deeply influenced by him. He was passionate about life and his life experiences are strongly reflected in his work. Even now I keep his artistic philosophy in mind when I paint. He will always be my role model.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

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My inspiration comes from day-to-day experiences. In 1978, I moved to Hong Kong for business and had never painted in my life. I was inspired by the ever-

changing play of the light on the sea when I moved to Sai Kung in 1989, and I started painting to express my feelings through the use of ink.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

It is too late for me to think differently now that I’m already seventy years old.

I think I will just stay on the same path.

您認為香港水墨在水墨界佔著一個怎樣的位 置? 去年七月，我們在北京畫院舉辦了「香港當 代水墨藝術展」，學術研討會上，著名文化 人王魯湘先生對香港水墨有如下評價：「中 國水墨在香港這樣的現代社會中，不僅可以 以某一種形態的面貌，來表示自己的存在， 而且可以我們想不到的異常多的面貌，來表 示自己的存在。我覺得在這個意義上，這個 畫展給我們對於中國水墨的未來發展，提供 了某種啟示，甚至某種信心。」 我同意王先生的說法並接受他的鞭策。 在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？ 延伸是必須也是必然的。筆墨的延伸不重 要，重要的是注入新的思想和境界。

作慾，我開始嘗試用水墨來表達眼前所見和 心中所感。 在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 我己年屆七十，即使有新的考量與轉折已為 時也晚，我想我會按照現在的路走下去。

Top of the Huashan Mountains 華嶽之雄

Ink and colour on paper 水墨設色紙本

68 x 180 cm 2014

Next Page 後頁 Curtain Wall Landscape - Legislative Council Complex VS Hong Kong Convention and Exhibition Centre (Partial View) 幕墻山水之立法會大厦 VS 會展中心(局部)

Ink and colour on paper 水墨設色紙本

69 x 136 cm 2014

您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？ 承傳了傳統的工具和技法，然後按個人的理 念、修養、學識去演繹，蛻變出各不相同具 現代意識的作品。 「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 坦白而言，我對「新水墨」一詞相當反感。 「新水墨」將水墨這一藝術媒介形而上為 「水墨精神」，然後去標籤各類西方當代流 行藝術如裝置、數碼、行為等等。「新水 墨」不存在新不新的問題，而是是不是水墨 的問題。 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？ 年輕時我喜歡人物畫，七十年代曾追隨過黃 胄先生。黃胄先生熱愛生活，強調寫生，他 的作品無一不從生活寫生中來，無一不帶有 濃厚的情感。即使我現在畫山水畫，也是按 他的藝術理念創作。他永遠是我的楷模。 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 我的創作靈感來自生活。我七八年移居香港 經商維生，從沒碰過畫筆。八九年遷居西貢 銀線灣，窗外海面千變萬化的光影激發了創

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周 Zhou Jin was born in Yue Qing, Zhejiang Province in 1970. He received his Bachelor of Arts, Master of Arts and Doctorate in Fine Arts from the China Academy of Art, Hangzhou. He taught in the Department of Chinese Painting at the China Academy of Art from 1997 to 2006. Zhou then joined the Department of Fine Arts at The Chinese University of Hong Kong in 2006. He is a member of the China Artists’ Association.

Zhou has received numerous awards, including the Hong Kong Contemporary Art Biennial Award in 2009, Merit Award of the 9th and 10th China National Fine Arts Exhibition, Gold Award of the 11th Fine Arts Exhibition of Zhejiang and Silver Award in the Zhejiang Chinese Painting Exhibition. His artworks have been collected by the Zhejiang Art Museum, Hong Kong Museum of Art, China Academy of Art, Tsinghua University, City University of Hong Kong, Hong Kong Legislative Council, University of Virginia and private collectors.

How do you think Hong Kong Ink (contemporary ink painting in Hong Kong) fits in with the global ink movement?

晉 ZHOU JIN

周晉，1970年生於浙江樂清。畢業於中國 美術學院中國畫系，獲學士、碩士及博士學 位。1997─2006年任教於中國美術學院中國 畫系。2006年至今於香港中文大學藝術系任 教。現為中國美術家協會會員。 其作品獲香港當代藝術雙年獎（2009）、第 九屆、第十屆全國美展優秀作品獎、第九屆 全國美展浙江展區銀獎、浙江省第十一屆美 術作品展金獎、浙江中國畫展銀獎等等。 其作品先後被浙江美術館、中國美術學院、 清華大學、香港藝術館、香港立法會、香港 城市大學、美國弗吉尼亞大學等機構及私人 收藏。

I believe Hong Kong Ink is a unique entity in the global ink movement, and was an important symbol of local art in the 70s.

Tradition itself is a dynamic concept. Any emergence of new art forms can be related to their origins. In the contemporary context, differences in cultural values can promote changes in ink art, redeveloping and reforming traditional ink into a more contemporary form of expression.

In the contemporary context, do you think the tradition of ink art should extend beyond ink and brush into other mediums?

The extension of traditional ink is not purely about ink and brush, but how the medium is used to convey ideas. Ink and brush and the concept of ink and brush

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Previous Page 前頁 Noon (Partial View) 正午 (局部)

Ink on paper 水墨紙本 165 x 153 2009

Pool - 2010, No. 2 池——2010 之二

Ink on paper 水墨紙本 83 x 153 cm 2010

are two different aspects. Whether we stick to those materials or not does not exactly relate to the concept of ink and brush.

What elements has contemporary Hong Kong Ink inherited from previous generations, and what has it transformed into?

Hong Kong Ink has its individuality and its exclusive connection with Hong Kong, but what elements “define” contemporary Hong Kong Ink are unclear. There is no formula for art transformation – whatever transformation takes place relies on the practice of the individual artist.

What is “New Ink” and what does the notion of “new” mean?

I am not sure what New Ink means. It really depends on the context. It is rather problematic to use the word “new” to define art.

Were there any special moments or incidents that have made a huge impact on you as an artist?

During the course of my artistic journey I have met many talented artists, both teachers and peers. Their determination in the pursuit and exploration of art have greatly inspired me.

What is your greatest source of inspiration? Has the city of Hong Kong inspired you in any way?

I am inspired by living simply and accepting change.

An artist encounters many twists and turns while creating works. Please share any memorable experiences that particularly stand out for you.

110

Self-reflection is my main consideration when creating art.

您認為香港水墨在水墨界佔著一個怎樣的位 置? 香港水墨是水墨畫界獨特的一支。上世紀七 十年代的香港「現代水墨」，是當時香港藝 術的重要標誌。

Pool - 2010, No. 1 池——2010 之一

Ink on paper 水墨紙本 83 x 153 cm 2010

在當代語境之下，您認為傳統水墨應否延 伸，而不只局限於筆與墨？ 傳統是個動態大概念，任何新藝術形態的出 現，都可以看作是與其傳統關係的呈現。在 當代的語境中，不同文化價值取向間的碰 撞，可以推動水墨的生長延伸，實現傳統水 墨表達的當代轉換，尤如老根發新芽。「傳 統水墨」的延伸，承載的並不局限於「筆 墨」，及透過「筆墨」所呈現關於人的氣格 法度。「筆墨」與「筆與墨」本義不同。不 計「筆墨」的拓展，未必與「筆與水墨」有 關。 您認為當代港墨「承傳」了甚麼，又「蛻 變」成甚麼呢？ 「港墨」具有各自的個人面貌，與此時此地 的香港互相呼應。如何「蛻變」則是不確定 的。藝術的發展沒有方程式，只有以切身的 實踐去找尋。 「新水墨」一詞於藝術界一次又一次出現， 何謂「新水墨」？「新水墨」新在何處？ 「新水墨」一詞，針對性並不明瞭，當關注 其在何種語境、何種場合提出，才能把握其 明確所指。藝術以「新」論，是個問題。 在成為藝術家的旅程當中，有沒有發生一些 特別、有意義的事情，而對您的藝術生涯帶 來深遠的影響？ 師長和朋輩中眾多具備天賦的藝術家，為追 求各自心中的藝術，不計成敗地孤獨地探 索，啟發並鼓舞著我. 您創作的靈感從何而來？香港這片土地又帶 給了怎樣的啟發？ 簡單的人生，多元混雜的包容性。 在創作的過程中，您有甚麼樣的考量或轉折 嗎？ 努力看清自我。

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CHIEF EDITOR Henrietta Tsui-Leung

主編 梁徐錦熹

EDITORS Benjamin Chiesa Stephenie Tsoi

編輯 Benjamin Chiesa 蔡穎恆

EDITORIAL ASSISTANTS Claire Ding Ruona Bosco Hong Tsz-Ling

助理編輯 丁若納 康梓泠

DESIGN Odetti Tse

設計 謝穎君

PHOTOGRAPHY Photos provided by artists unless otherwise specified

攝影 相片由藝術家或已標名人士提供

PUBLISHER Ora-Ora International Limited

出版人 Ora-Ora International Limited

ADDRESS G/F, 7 Shin Hing Street, Central, HK

地址 香港中環善慶街7號地下

TELEPHONE +852 2851 1171

電話 +852 2851 1171

PRINTED Hong Kong, September 2015

印刷 2015年9月印於香港

ISBN 978-988-14286-0-8

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