文鳳儀：編織親密—身體線
Weaving Intimacy: Body Lines by MAN Fung-yi
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文鳳儀： 編織親密 — 身體線
Weaving Intimacy: Body Lines By MAN Fung-yi
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序言 徐錦熹
奧拿•奧拿創辦人、董事
自2008年，奧拿•奧拿一直不惟餘力地建立和發展一班有志在其藝術 創作承傳某些中國傳統元素的藝術家，發展名為「新傳統」的藝術路 曏。我們看好這類型的藝術將會成為中國當代藝術的一股新勢力。我 們不斷的尋找一些把自己的創作力和技術付諸行動的藝術家.他們對 於傳統有不同的感覺和想法：有些支持鼓勵、化作新的活力的，有復 興、擴大的，也有批評或挑戰傳統的，為全球化當代藝術擦出火花。 在一個文化的角度來講，每位中國藝術家（包括香港藝術家）在成長 背景上有著明顯的分別。從這些在訓練上、經歷上的差異令他們有著 不同獨特的風格和語言，有著個別去研究的路曏。在此「新傳統」的 活動中，一些藝術家在作畫的技術上延續傳統的特色，另外一些像文 鳳儀，就藝術領域裏繼承和活化東方精神，走出傳統國畫媒體，讓自 己更開放靈活地創作。 當您欣賞文的作品時，至少可由兩方面去探索。在一方面，她是用中 國人的角度去融合東方的哲理精神加以當代的演繹。文是一位珍惜傳 統而對於現今先進發達的社會快將傳統文化遺忘感到急切性。所以在 其作品上會明顯的看出文化角度的考慮。另一方面，其作品經常引 發女性溫柔的一面，既內斂，又大膽。她重視培養精神的需要與其樂 趣，用不斷重復某些的動作達到冥想的狀態，例如在新的系列中， 文不斷為每一件的衣服作品用手畫出其圖案。作為一位重視家庭的
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事業女性，文的創作靈感是經過她愛的人，包括其丈夫和兒子的啓 發，是自己的內心的演繹。她不在乎對社會直接的批判，但非常重 視對自己的瞭解和存在於社會的意義。她妊孕期間的經歷，不但在 角色上從為人太太到為人母親，其感覺的變化亦幫她找到她獨特的 符號：一些用燒香在絹上燒了一個一個的洞，重復的作出圓形的圖 案，是文當時自得其樂及達到平和的心態的一條妙方。要是觀者有 意看透文的創作心思和路曏，就得把其生活的改變和藝術發展程況 雙題而論。 她最新的系列《編織親密－－身體線》將其創作事業推到一個新的 高峰。作品題材是她家的衣櫃裏一些穿過多篇的衣服，帶出已舊悠 新、溫情脈脈的感覺，跟作品用的媒體如鋼和銅，引發出強烈的對 比，非常有趣味，她試圖把一些虛虛的回憶用實在的材料重做，把 回憶根感覺得以永遠保留。從文的作品，我意識到很多生命的元 素：包括愛、溫情、融合、回憶、幸福、傳統和樂趣。她嘗試把甜 蜜的回憶伸延到雕塑本身，透過它來分享和錶達她的感情。她堅持 每件作品製作只限一件，在雕塑界算是少數，只有極具毅力和信心 的藝術家才會這樣做。對我而言，文是完美主義的人，非常努力的 在做，從中得到無窮的滿足感。有著自我推動的力量，文會繼續挑 戰自己的極限去做出作品去代錶其心境。
Preface Henrietta Tsui Founder and director of Galerie Ora-Ora Since 2008, Ora-Ora has been working assiduously to build a series of contemporary artists from the ‘New Traditions’ genre. Our desire is to promote this genre, which is infused with strong sense of ‘Chinese-ness’, or Chinese cultural artistic elements, as we envisage these artists and form will become an important growing force in Chinese Contemporary Art. To this endeavor, we continuously seek out artists who put their skills in action together with unique creative pursuits. These artists have endless interesting ways of exploring and developing this ‘New Traditions’ genre; their expeditions have so far included preservation, revitalization, revolution, expansion, challenge and even critique of traditions and heritage in the name of ‘Art Now’ creation within a global context. From a more cultural angle, it is interesting to note that there is vast diversity in the backgrounds of individual Chinese artists, including those from Hong Kong. From their differences in upbringing, exposure and training, Chinese artists express themselves in their unique styles and language, with their own yearn to investigate and research different tangents without set rules or guidelines. Amongst the works in the “New Traditions” movement, some artists work more to propagate the traditional techniques in art, while others such as Hong Kong-based Man Fung-yi, focuses on inheritance and reinvigoration of the ‘Chinese-ness’ spirit, through working openly and creatively on freeing herself from the rigidity of conventional media. When one appreciates Man’s works, there are at least two perspectives to be explored. First, she interprets traditional Chinese philosophy through the modern China expose. From her contemporary works, one would quickly realize that Man greatly values Chinese traditions and has a strong sense of urgency to prevent loss of her heritage in our ever-changing society.
Second, her works often represent the femininity of a woman in a subtle yet bold manner. She often expresses both the joy and the need for soul cultivation through a series of repeating meditative actions, such as the repetitive drawing of patterns for each of her sculpture in this new clothing sculpture series. As a family-focused career woman, Man’s creative expressions are often initiated from her inner-self and inspired by her loved ones, such as her son or husband. She does not really care to criticize or challenge the changing society, but is more interested in getting in touch with her own being. Her pregnancy experience not only added a role from wife to mother, it also gave her great motivation in the founding of her signature: the burnt holes by incense in a circular pattern, a way she found peace in doing while bearing her son. One can probably get insights to her creative expressions and directions by following her artistic development vis-a-vis her changing life cycle. Her new series Weaving Intimacy (Body Lines) brings her artistic career to new heights. The contrasts between the delicacy and softness of worn clothing in her family wardrobe and the rigidity and hard texture of steel and brass give amusing impact to the pieces. From her works, I can sense so much out of life, including love, warmth, familiarity, memories, joy, heritage, and fun. She attempts to transform her sweet memories into a form of sculpture, and to share and express herself using them as her representatives. She insists that all of her sculptures are one-of-a-kind artworks with no edition, which is, rare in the sculpture market. Only those with immense persistence and confidence in her creative ability would likely do that. To me, Man is a perfectionist who works diligently, and also enjoys the process of creation. Self-motivated and driven, Man would always continue to challenge her own limits to create something that represent her state of mind.
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給 Henrietta, 這裡每一個洞代表著一點關懷。每二十一點組成的圓形圖案，加起來 成為一朵朵意味著支持與合作的花。 奉上最溫暖的祝福 文鳳儀
《仿閨閣繪畫行為》（香港藝術館收藏） Simulation of an Ancient Lady by Painting (Collected by Hong Kong Museum of Art) (2001) 4
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虛實和修心 ——文鳳儀的藝術 高名潞教授
哈佛大學博士，美國匹茲堡大學藝術史及建築史 系研究教授。四川美術學院特聘教授及美術學系 系主任。
能夠把哲學思考和日常細微感覺結合起來的藝術家不多，而在 女藝術家中可能就更少。但是，文鳳儀則是在這方面突出的藝 術家。 在香港中文大學的碩士論文中，文鳳儀寫了滔滔萬餘字的有關 存在與虛無的論文，探討抽象藝術是如何在藝術中表現「無」 的境界的。她在修讀碩士課程期間，曾寫文章「印度哲學的一 些啟示--- 兼解讀西方兩位暴藝畫家的繪畫」中寫道：「重視生 命的東方文化對重視邏輯思維的西方文化來說是神秘的、無法 理解、不可把握的；甚至從冥契主義聯想到模糊、不明、詭異 的負面思想上，存在著很大的偏見。講求理性、客觀經驗、工 具、效益的西方外向文化如何契合內向的東方文化，探求生命 裡更深層、更原始的本質，開顯人類文化、生命最高的智慧， 相依相持，互為補足，將會是下一世紀東西文化共同努力的課 題。」1 多麼宏大的構想！其實它也是未來的現實。我想到自 己近年所作的「意派論」的寫作工作，由此和文鳳儀產生了一 些共鳴。 其實這仍然是二十世紀初期，中國知識份子的「中西合璧」 的理想。這是中國的啟蒙思想。其實中國人的現代啟蒙不是絕 對斷裂性的進步和科學理性，而是合璧，是「和而不同」。但 是，這個啟蒙被毛澤東的無產階級革命所終止。直到岷二十世 紀末這種啟蒙才再次出現。它必將在廿一世紀有所結果。 文鳳儀的啟蒙是在本科畢業以後，在《去我洗滌歷程》的作品 中，她將自己之前所畫的西畫都剪成條狀並且卷成卷，一排排 放在一個書架上。作品隱喻著向她的過去告別。一方面，她之 前受的教育和影響都是來自男性，另一方面，從此決心在作品 中融入上述的東方精神。2
但是，文鳳儀在藝術創作方面從來都不張揚，似乎也沒有那麼 宏大的敍事。其作品非常溫和、內省。這可能不完全是出於女 性的溫柔，更可能是對東西方哲學思考的結果。我注意到，文 鳳儀近年的藝術基本都與「虛 - 實」有關，虛實是一種關係。 也就是說，她似乎對作品的實體、空間以及它的意義如何與人 發生關係相關。虛實也是一種美。 虛實首先出現在文鳳儀用香在長卷絲綢上燙花紋的作品。這種 方法始于文鳳儀妊娠期間。綢緞、繡花似乎和女紅有關。運用 香火，重複又重複地在古絹上燒破，留下一圈又一圈的孔洞， 宛若女紅的針刺絲織物，但是並非細緻的繡花工序。3 香在絲 綢上的力度決定了花的勻稱和和諧。達到這一目的，藝術家必 須修心安神，否則花就會走形。但是，在2003年間，由於她的 家人患上重病，生命垂危，文鳳儀堅持用香「刺繡」 作為一 種祈禱祝福。但是，非常艱難去控制自己的手感，後來，家人 得救，她的作品被命名為《讚星禮斗》，以感謝天意。同時， 她的「刺繡」本身也成為一種虔誠的修行，家人沒有被奪去生 命。 這種修心形成了文鳳儀藝術的一大特點。無論是雕塑、絹、紙 或者一些模仿個人用品的物，比如去年我在西班牙策劃的《意 派》展覽中有文鳳儀的《關於星斗的迷思》（見附圖），這是 一對虛實對比的、銅質的「刺花枕頭」。 虛實是修心的方法，也是心跡的歷程。
1 文鳳儀，「印度哲學的一些啟示---兼解讀西方兩位暴藝畫家的繪畫」論文，未發表。 2 高名潞訪談文鳳儀，2003年7月15日。 3 文鳳儀，「創作自述」2003。
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《去我洗滌歷程》 Launder One’s Ego (1999-2001)
Man Fung-yi’s Art
《斗》（私人收藏）
Professor Gao Minglu Gao Minglu got his Ph.D from Harvard University and currently is a Research Professor at the Department of History of Art and Architecture at University of Pittsburgh.
Constellations (Private collection) (2008)
Rarely could we find artists who could merge philosophical thinking and the detailed feelings of everyday lives in their art. Female artists with such abilities are of an even rarer breed. However, Man Fung-yi stands out above other artists in this regard. In her master thesis at The Chinese University of Hong Kong, Man eloquently exposed her thesis in Abstraction in over 20,000 words. In the thesis, she explored how state of nothingness is represented. In another master’s thesis of Man, ‘The Revelations of Indian Philosophy-and An Interpretation of Two Western Brut Artists’ Painitngs’, she said, “To the west, which focuses on logic, the East’s focus on culture appears mystical, unexplainable, and unfathomable; to a point that mysticism relates to blurred and confused, and the negative connotation of paranormal, and magic, there exist a great misunderstanding and prejudice between the two cultures. The challenge for the next century between the eastern and the western cultures will be for the west, an extroverted culture that exalts rationale, tools, knowledge and efficiency, to explore ways of agreeing with the eastern culture, to discover the deeper meaning of life, the origins of being, the development of civilization, and the apex of life’s wisdom: mutually supporting each other, and filling in each other’s shortcomings.”1 What a grand theology! In fact, this is just realization of the future. I recalled my recent writing on ‘Theory of Yi Pai (a synthetic theory against representation)’, which seemed to have struck a note with Man’s proposition. In fact, for the early 20th-century circle of educated
Chinese, this was also their ideal to combine western and eastern elements. This is the ideological evolution for China. Actually, the evolution of the modern Chinese did not occur over an explosive development of scientific theories, but over a consolidation of differences. However, this evolution was cut short by Chairman Mao’s Proletariat revolution. It was not till the end of 20th century did this ideological evolution reappear, which should certainly bear fruit in the 21st century. Man Fung-yi’s enlightenment was after the undergraduate studies, in the work Launder One’s Ego, she cut her western paintings into long strips, rolled them into rolls and placed them neatly onto a shelf. The work symbolized her salute to her past. On one hand, she was predominantly influenced by male professors. On the other hand, from then on, she was determined to merge the Chinese spirits into her art.2 However, Man’s creativity in art had never been all over the place, there seemed to be lack of any grand narrative on issues. Her works are extremely moderate and introspective, and could even be the result of immense consideration of the philosophies of the east and the west. I noticed that over these few years, Man’s works are fundamentally related to ‘Being and Nothingness’. It is a relationship; in other words, Man seemed to be concerned about how the physical form and space of the artwork could create relevance to people. ‘Being and Nothingness’ is a form of beauty. ‘Being and Nothingness’ initially appeared in Man’s work where she used incense to burn holes on silk
scrolls. This idea came about when Man became pregnant. Silk and embroidery seem to be related to women. Using incense to repetitively burn holes into old silk scrolls, leaving circular patterns of holes, resembling females in the past, who embroidered with needles with repetitive actions, yet did not resembling the meticulous steps of embroidery.3 The amount of strength spent to burn holes on to silk scrolls determined the harmony and balance of the wholes. In order to achieve such state of mind, the artist must cultivate her soul to be calm and mellow. Otherwise, the floral pattern would be distorted. However, in 2003, owing to a chronic disease Man’s family member acquired, Man insisted to use ‘embroidery’ as a new way of prayer and blessings for the family. Nevertheless, it was very difficult to control the momentum of her hand. Later on, her family member was saved, and she subsequently named her work Twinkle Twinkle Little Star as her gratitude to Heaven. At the same time, her ‘embroidery’ became her pious practice, and her family member recovered. Man’s cultivation of her soul gave her art its signature. Whether the creative media is sculpture, silk scrolls, paper or items that imitate items of everyday use, such as Man’s exhibit ‘The Myth of Constellation’ at the Spanish exhibition ‘Chinese “Abstract Art” for 30 years’ which I curated last year, her work is a contrast yet balance between ‘Being and Nothingness’, just like the “embroidered pillow of bronze”. Being and Nothingness to Man is a way to train the soul, and also the path to her heart’s secrets.
1 Man Fung-yi, “The Revelations of Indian Philosophy-and An Interpretation of two western Brut Artists’Painitngs”, Masters thesis, unpublished. 2 Gao Ming-lu’s Conversation with Man Fung-yi, Jul 15, 2003 3 Man Funy-yi, “Narrative of Creation”, unpublished.
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文鳳儀剛柔並蓄的雕塑 梁展峰
2006年開始於藝術空間、畫廊及書店策劃本土藝術家展覽﹐ 並書寫香港視藝﹐曾刊於《文匯報》及《香港視覺藝術年 鑑》(2007、2008)。
1999年，碩士畢業展《現存與不存之間》 M.F.A. Graduation Exhibition “In Between Presence & Absence: Paintings by Man Fung-yi” in 1999
從剛認識文鳳儀到現在，她時常提及本地藝術界總是男性主 導，她曾說「我一向認為雕塑是為男性而設，以力量作比 試。」無論現在的女性藝術家是否在雕塑界「能頂半邊天」 ，但「男性主導」多少是華人藝壇和上世紀50年代前的西 方藝壇實況。文鳳儀的想法讓我思考她的作品如何展現女性 自強的特質﹖她何以選用金屬材料的雕塑﹖雖然她丈夫莫一 新是雕塑家，多少可以讓文鳳儀創作雕塑帶來方便，但我想 更多是因為她想突破雕塑藝術上的男女差別。「後來我發現 自己可以發展輕型的雕塑，避過『重』的感覺，而且我能依 然保存個人藝術元素於雕塑之中。」雕塑在過去彷彿是男性 的專利，面對銅、鐵和石這類材料，都關乎體力的表現和要 求。隨科技發展，各種人工和自然材料被開發，女性藝術家 可以選用輕巧柔軟的物料。西方女雕塑家Eva Hesse、Kiki Smith以乳膠和蠟製作雕塑，這些柔軟而富彈性的材料拓闊 了雕塑材料的傳統，亦為剛陽味濃的雕塑傳統提供了新方 向，注入女性觸覺和美學角度。以Eva Hesse的立體作品和 Agnes Martin抽象繪畫為例，她們都多以直線、矩形等男性 化的幾何造形配合柔軟物料(如樹脂、乳膠)和雅淡色彩(如淡 紅、淺藍)。文鳳儀反而用上剛陽味十足的黃銅和不銹鋼， 來打造女性化的造型(如旗袍長裙、咕臣靠墊)。這種題材(衣 物)和用料(金屬)的配合，於我而言卻讓文鳳儀的創作表現出 一份外柔內剛的氣質。同時藉著對傳統材料的駕馭，體現出 現代女性自信和自強的一面。 文鳳儀在我印象中是位個子高佻剛柔並蓄的長髮女子，而且 從她過去展覽存在與不存之間」(1999) 的繪畫作品如《無與 非無之間》(1999)和《去我洗滌歷程》(1999-2001)，都已 流露一份女性的自信和駕駑能力。文鳳儀藉著處理畫布的方 8
法來拓展出自己的抽象繪畫語言，用以表現她對「存在」的 思考，探索抽象繪畫中更多的可能方向。那些巨副布本的抽 象繪畫上，淺黃淡白的顏色猶如洗滌的痕跡，沒有框的畫布 被掛起像涼曬著織布，還有捲扭著的小布以及無用的縫線束 成的線球，一束一束一個一個的陳設有序。它們沒有傳統女 性閨房勞作的意象，既不是針織刺繡的演釋，也不是軟料碎 布的縫紉織品的延伸，反而表現一份涉及體力勞動的洗滌行 為，另一種女性體力的表現。 「2001年，我在妊娠期間，初次嘗試以線香在絲絹上灼上小 孔，留下一圈又一圈整齊的圓形圖案，製作過程好像模仿古 代閨女一針一線從事女紅刺繡，專心致志，重複又重複。要 灼出工整的圓形圖案，藝術家必須寧神靜氣，全神貫注於作 品中，加上裊裊香煙，令我彷彿進入了修煉和冥想的境界， 在一心不亂的氣氛中完成作品。2005年我進一步把小孔鑽在 黃銅上，創作了立體作品《(愛不)釋手》系列，思索對愛的 捕捉與放手的關係。」當中提及的作品《仿閨閣繪畫行為》 (2001)明確展示了她作品中的個人和女性特質—重複和編織 的意象，小孔組成如紡織圖案強化作品猶如紡布的外觀。那 些以香灼成的孔做成的星紋亦已成了文鳳儀的標記。在紡絹 上一組組的星紋排列有序，是藝術家的創作，也是創作過程 的記錄。當星紋放到雕塑上，便成為作品表面模仿織布上的 花紋，更是文鳳儀簽名式的符號。這些雕塑中所展現的衣服 懸掛形態，本身已富柔軟感，加上金屬質感的網狀結構讓作 品內外通透可見，猶如一件輕盈的鎧甲。「這些都是我、我 丈夫和我兒子穿過的衣服。我會先把選定的衣服給洗滌和晾 曬，然後在掛晾時，捕捉衣服褶紋或形態最合我心意的時 刻，用化學物凝固那個狀態。隨之在它們上面依據褶紋或衣
服紋理畫上不同線條，最後就著所繪畫的線條放置金钃條並 將之一一焊接起來，造成網狀效果。故此原來的衣服會在製 作過程中被銷毀，所以每件衣服只能造出一件作品。」這種 製作過程涉及的冗長時間和繁複工序，都不下於傳統的木雕 或鑄銅的創作，卻沒有減退她的創作慾。「2007年我在伙炭 的展覽中展出了那些雕塑，觀眾反應很好，而且覺得作品很 有中國藝術的特質。」在她的雕塑作品中，網狀線條延續了 用香灼成的小孔，不失編織的意象之餘，其製作過程讓文鳳 儀保持了以往猶如修煉和冥想的創作模式。往後文鳳儀繼續 這方向的創作，短短一年間已有數以十計系列式的作品。因 為創作過程和觀眾反應，她越來越肯定這種雕塑創作方向。 每個人在不同生活的階段，至少因為身材、喜好和場合而擁 有各式衣服，舊衣如同相片一樣記錄和印証了這些不同的人 生時段。衣物的手感和氣味，更是打開私人記憶的鎖鑰，當 中那份私密的個人意義未必容易讓外人體會。因此很多人都 有保存舊衣的習慣，特別是母親為家人收藏舊衣。舊物比相 片更具私人的收藏意義，不少藝術家都會使用舊物來創作， 注入與歷史和記憶有關的想象和喻意。文鳳儀用上自己和 家人的舊衣(如兒子嬰兒時期的衣服和自己的婚紗)作創作材 料，體現了她作為母親和女性對「家」的關注。同時「衣 服」裡的文化象徵意義則透過雕塑這藝術形式被突顯出來。 私人的家庭記憶和大眾的文化象徵結合在這些「衣服雕塑」 中，讓觀眾和她自己都能讀到各自的意義。衣服記載了某時 某地的私人回憶，她以金屬製成這些「第二層皮膚」，把這 些私人回憶凝固起來，以剛強的方法恆久 地保護起溫柔又親密的記憶。
Man Fung-yi’s Sculptures: the Balance of Strength and Tenderness Jeff LEUNG
Curator of various exhibitions in art spaces, galleries and bookstores since 2006, often contributes writings about Hong Kong visual art in Wenwei Po and the Hong Kong Visual Arts Yearbook (2007, 2008).
2005年作品《愛不釋手》 To Cuddle or Not to Cuddle Series (2005)
Ever since I have known Man Fung-yi, she has often commented how the local art is dominated by men. She once said, “I have always sculpture as a man’s art, a competition of physical strength.” Whether female artists may or may not constitute an integral part of contemporary sculpture practice, it is a recognisable fact that the current Chinese art scene and Western art world before 1950s are “dominated by men”. How does the independent and self-supporting woman manifest in her work? Why did she choose metal as her medium? Having a sculptor husband, Mok Yat-san, brings about certain conveniences, but I believe she is motivated by a desire to eliminate the gender boundaries still perceptible in the field of sculpture. “Later I realised I can explore light-weight sculptures, evade the sense of ‘heavy weight’, and still do what I want to do in my work,” she said. Technological advance offered lighter and softer alternatives for female artists. Western female sculptors such as Eva Hesse and Kiki Smith worked with latex and wax, supple and malleable materials that responded to feminine sensibilities and perspectives. Contrary to these two female artists, Man employs the “masculine” brass and stainless steel to create very feminine forms, such as the Chinese traditional dress Qi-Pao. The union of this subject matter and material, the marriage of drapery and metal, makes the work an epitome of a Chinese concept: the balance of outward tenderness and inner strength. Man is the manifestation of the contemporary woman’s confidence and independence. I always see Man Fung-yi as a tall and slim woman with
long hair, who is neither strong nor soft, but both. Her confident and individual attitude can be discerned from her earlier paintings Launder One’s Ego (1999-2001) and In Between Nothingness and Non Nothingness (1999). She developed her visual language whilst reflecting on “being” and exploring new paths for abstract painting. The pale yellow and creams on a large, unstretched canvas lend the painting the look of a repeatedly laundered piece of fabric. She has also rolled up small pieces of cloth, rolled discarded thread-ends into balls, and displayed them with impeccable order. Rather than sewing or embroidery they recall the process of clotheswashing, which is a much more strenuous task and testify to the inherent physical strength a woman naturally possesses. “In 2001, whilst I was pregnant, I tried to burn little holes on silk using a stick of incense, making neat rows of concentric circles. The process was like a woman of the past pulling needle and thread, doing embroidery. It requires full concentration and it is nothing but repetitive. In order to make perfect circles, the artist must be completely calm and still, her mind rid of all thoughts. With the rising smoke of the incense, I felt I had entered a deep state of meditation, and I completed the work without a single stir in my mind or heart. In 2005 I took this practice onto brass, and created the three-dimensional series To Cuddle or Not to Cuddle, which is a reflection on the holding on and letting go of love.” The work Simulation of an Ancient Lady by Painting (2001) involves a repetitive process that reminds one of knitting, and the small punctures make a pattern
《去我洗滌歷程》 Launder One’s Ego (1999-2001)
that gives the whole work the look of a piece of textile. The holes that resemble astrological patterns are not only part of the artist’s stylistic output but also the recording process of her work and her signature trait. As for the clothing sculptures, she says, “These are all clothes my husband, my son and I have worn. I will first wash the chosen garment, and whilst it is being hung-dry, I will catch the moment where its form or its composition of folds is how I like it best, and solidify it with chemicals. Then I will draw lines according to its folds and patterns. Finally my assistant will solder metal threads along the lines to create the knitted effect. It is inevitable that the original garment be burnt during the process, so each piece of clothing can only make one work… In 2007 I exhibited those sculptures in an exhibition at Fo Tan. The response was great, and a lot of people thought it has a sense of Chinese-ness.” Since then she is ever more confident about her way of work. Like photographs, used clothes are recorded evidence of the different stages of our lives. The smell and touch of clothes are keys that can unlock personal memories, and the privacy and intimacy of the meaning are rarely comprehensible to others. Clothes record and carry history of a person at certain time and place. Man’s metallic “second skins” solidify these memories in the durable strength of metal, in order to protect and immortalise the intimate and valuable memories.
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Weaving Intimacy (Body Lines)
編 織 親 密 ︵ 身 體 線
Weaving Intimacy (Body Lines) 編織親密 (身體線) No. Q1 Brass L : 140cm W: 52cm D: 12cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. J1 Stainless Steel L: 65cm W: 36cm D: 12cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. K1 Stainless steel L: 77cm W: 63cm D: 10cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. Q2 Stainless Steel L : 110cm W: 36cm D: 7cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. D3 Brass L: 90cm W: 45cm D: 4cm 16
Weaving Intimacy (Body Lines) 編織親密 (身體線) No. D6 Brass L: 95cm W: 54cm D: 12cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. D1 Stainless Steel L: 82cm W: 55cm D: 15cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. K3 Brass L: 69cm W: 40cm D: 8cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. D3 Brass L: 110.5cm W: 35cm D: 11.5 cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. D5 Brass L: 91cm W: 46cm D: 4cm
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Left: Weaving Intimacy (Body Lines) 編織親密 (身體線) No. G2 Brass L : 30.5cm W : 23cm D: 7.5cm
Right: Weaving Intimacy (Body Lines) 編織親密 (身體線) No. B3 Stainless steel L: 51cm W: 43cm D: 9.5cm
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Weaving Intimacy (Body Lines)
編織親密 (身體線)
No. B3 Stainless steel L: 57cm W: 26cm D: 8cm
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Weaving Intimacy (Body Lines)
編織親密 (身體線)
No. G4 Stainless Steel L : 38.5cm W: 35.5cm D: 6.5cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. M1 Stainless steel L: 82cm W: 52cm D: 13cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. YS2 Stainless steel L: 26cm W: 23cm D: 10cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. H1 Brass L: 13cm W: 20cm D: 20cm
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Weaving Intimacy (Body Lines) 編織親密 (身體線) No. G1 Brass Right: L : 20cm W : 10cm D : 6cm Left : L : 21cm W : 8cm D : 5cm
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Weaving for Stability and Safety 編織 平安 30
Left: Weaving for Stability and Safety 編織平安 No. S2 Stainless steel L: 31cm W: 18cm D: 9cm
Right: Weaving for Stability and Safety 編織平安 No. B2 Brass L: 46cm W: 45cm D: 9cm
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Weaving for Harmony and Smoothness
編織和順
Weaving for Harmony and Smoothness 編織和順 No. S3 Stainless Steel L: 28cm W: 13cm D: 4cm 32
Weaving for Harmony and Smoothness 編織和順 No. M1 Stainless Steel L: 27.5cm W: 11cm D : 9cm 33
Weaving for Harmony and Smoothness 編織和順 No. B2 Stainless steel L: 26cm W: 9cm D: 22cm
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Weaving for Harmony and Smoothness 編織和順 No. W2 Stainless steel L: 24 cm W: 8cm D: 6cm
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Weaving for Harmony and Smoothness 編織和順 No. T3 Brass L: 26 cm W: 10cm D: 15cm 36
Weaving for Harmony and Smoothness 編織和順 No. S2 Stainless steel L: 28 cm W: 10cm D: 7cm 37
Weaving for Harmony and Smoothness 編織和順 No. W Stainless teel L: 28 cm W: 9cm D: 15cm 38
Weaving for Harmony and Smoothness 編織和順 No. K2 Stainless steel L: 20cm W: 9cm D: 7.5cm
Weaving for Harmony and Smoothness 編織和順 No. K1 Stainless steel L: 19cm W: 8cm D: 14cm
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《人群中的自己》 Self Among The Others (1990)
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文氏的作品為以下機構收藏︰
Man’s works are collected by the following:
中文大學新亞書院 香港藝術館 香港文化博物館 香港房屋署 香港國際機場 香港地鐵 夏利豪現代藝術基金會 中國對外文化交流協會 江蘇省美術館 石川縣立美術館 及各酒店、機構及私人收藏。
The Chinese University of Hong Kong, New Asia College Hong Kong Museum of Art Hong Kong Heritage Museum Hong Kong Housing Department Hong Kong Airport Authority Hong Kong MTR Corporate China International Cultural Association Jiangsu Provincial Art Museum Ishikawa Prefectural Museum of Art and various hotels, corporate and private collectors.
2009年，北京今日美術館《意派——世纪思维》展覽 ‘Yi Pai – Century Thinking Exhibition’ at Beijing Today Art Museum in 2009 41
文鳳儀活動年表 Chronology of Man Fung-yi’s activities
1967
香港六七暴動在五月爆發，是一場香港親共的左派人士在中國文化大革命的影響下對 英國殖民地政府展開的對抗。事件由最初的罷工、示威發展到八月出現升級炸彈行 動，並殺害反對媒體的成員。因為這次暴動，文鳳儀父母的結婚計劃差點兒告吹，將 直接影響文氏的出生。 文鳳儀和她的媽媽 Man Fung-yi and her mother
Hong Kong 1967 riots began in May caused by pro-communist leftists in Hong Kong. The violence heightened in August when the leftists resorted to terrorist attacks, planting fake and real bombs in the city and murdering some members of the press who voiced their opposition. The riots almost disrupted the marriage of Man Fung-yi’s parents, which would have affected Man’s birth.
1968
香港流感在七月爆發，估計有五十萬居民、佔十分之一的人口受感染。文鳳儀剛在這 年出生，是家中的長女。
The widespread of Hong Kong flu began in July. It was estimated that 500,000 Hong Kong residents, ie. 10% of the population were infected. Man Fung-yi was born this year and was the eldest child in the family.
1986 文氏和她的媽媽的手袋 Man and her mother’s handbag
文氏以「暫取生」身分考入香港中文大學藝術系。
Man entered the Chinese University of Hong Kong and majored in Fine Arts.
1988
大學二年級，文氏因為一個惡夢而創作出作品《夢魘》。
In her second year at university, Man had a nightmare one night which inspired her to create a group of paintings to express the horror in the dream.
1990
頒佈《香港特別行政區基本法》。同年，文氏畢業於香港中文大學藝術系，獲學士學 位並開始在中學任教美術科。她在中環一所畫廊舉行展覽，並獲中國對外文化交流協 會「中國現代書畫大賽」優秀獎。
Basic Law was proclaimed this year. Man graduated with a Bachelor Degree in Fine Arts from the Chinese University of Hong Kong and began teaching art subjects in a secondary school. She participated in a joint exhibition at a gallery in Central and won the Merit Prize in the Grand Competition of Modern Chinese Ink Painting and Calligraphy by Foreign Cultural Exchange Association of China.
文氏和她的三個妹妹 Man and her three younger sisters
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1991
由市政局於1962年成立的香港大會堂美術博物館在這一年遷離大會堂，搬往尖沙咀梳 士巴利道10號正式成為香港藝術館。文氏在銅鑼灣一間虹畫廊舉辦首個個人展，並獲 夏利豪現代藝術基金「最具潛質藝術家獎」。
The Art Gallery in City Hall established by the Urban Council in 1962 was moved to 10 Salisbury Road and renamed as The Hong Kong Museum of Art. Man held her first solo exhibition in a gallery in Causeway Bay and won the Most Promising Artists Award of the Philippe Charriol Foundation.
1987年，她和媽媽、三個妹妹及幼弟 Man with her mother and siblings in 1987
1992
香港視覺藝術中心成立。文氏搬入大埔碗窰 旁荔枝山村，展開尋根和考古的興趣。於 這一年，她獲得國際水墨大賽銀獎。
The Hong Kong Visual Arts Center was established. Man moved to Lai Chi Shan in Taipo where she started discovering her ancestral past through archeology. This year, she received the Silver Award in International Wash & Ink Painting Competition.
1993
香港女性當代藝術協會成立，文氏後成為成員之一。她參與文化博物館《視藝精英》 的展覽，展出裝置作品，在香港視覺藝術大賽（平面作品組）獲得大獎。
The Hong Kong Female Contemporary Art Association was formed and Man soon became a member. She participated in the Visual Art Competition (ink painting) organized by H.K VAS and won the Grand Award.
1994
文氏參與台灣省立美術館舉辦的《二十世紀現代水墨畫展》及香港漢雅軒的《非主流 之聲 — 十位中國女藝術家作品展》。
Man participated in ‘The 20th Century Modern Chinese Ink Painting Exhibition’ in Taiwan and ‘Voices from the Edge - 10 Chinese Women Artists Exhibition’ at Hanart Gallery, Hong Kong.
1990在中環一間畫廊的展覽，背後是她的油畫作品 Man with her oil painting the back at a gallery in Hong Kong joint exhibition in 1990
1995
香港藝術發展局成立，負責推行藝術政策和撥款資助予視覺藝術、表現藝術和文學的 活動。文氏與莫一新成立Chic Studio(藝術家工作室)，從事創作及美術教育工作。
The Hong Kong Arts Development Council was established to implement arts policies and provide subsidies to visual art, performance art and literary programmes. Man founded ‘Chic Studio (Artists’ House)’ with Mok Yat-san, dedicated to art creation and teaching.
1994年，在台灣省立美術館展出的水墨作品。 Ink painting exhibiting at the National Gallery in Taiwan in 1994.
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1996
這一年文與莫一新結婚。文氏的作品參展菲律賓馬尼拉大都會博物館的《第十一屆亞洲 國際美術展覽》。
Man married Mok. She also exhibited in the ‘11th Asian International Art Exhibition’ at Metropolitan Museum of Manila.
1997 攝於1996年3月31日，這套婚紗後成為《編織親 密》的作品之一 Taken on 31 March 1996. The dress to be made for a work in the Weaving Intimacy series
初生兒子穿著的衣服最後變成《編織親密》的作品 Her son’s clothes were later used as moulds for Man’s Weaving Series
七月，香港回歸中華人民共和國，香港特別行政區政府成立。亞洲金融風暴席捲亞洲各 個國家包括香港。文氏考進香港中文大學藝術系碩士課程，並任學系研究生助理。她在 香港藝術中心舉行個人展覽，又獲美國自由人基金亞洲藝術家獎學金、在瑞典舉辦的《 國際女性藝術家小型作品展》獲第三獎。其他參與的群展包括《國際女性藝術家作品 展》(瑞典) 及《香港當代藝術家聯展》(澳門)。
The Change-over of Hong Kong to the People’s Republic of China, the first Special Administrative Region government was inaugurated. In the same year Asian Financial Crisis swept through Hong Kong at the beginning of July. Man entered the Master of Fine Arts Programme at the Chinese University of Hong Kong and worked as a graduate assistant. She held her solo exhibition at Hong Kong Arts Centre and won two awards, namely the Freeman Foundation Fellowship for Asian Artists issued from the U.S.A and the 3rd Prize in the International Female Artist’s Miniature Art Exhibition in Sweden. She also participated in ‘Femina- The International Female Artist’s Exhibition’ in Sweden and ‘Visoes E Expressoes- Contemporary Hong Kong Artists Exhibition’ in Macau.
1998
香港回歸中國後一年，文獲邀請到北京展覽，先是北京中國美術館的《世紀．女性藝 展》並獲得「藝術批評家獎」，後在北京國際藝苑美術館的個展。
The year after Hong Kong’s return to China, Man was invited to exhibit in Beijing. She first exhibited in a group exhibition ‘The Century- Women Art Exhibition’ at National Art Museum of China where she was awarded the Art Critic Award, followed by a solo exhibition at Beijing International Art Palace. 1999
獲香港中文大學研究院藝術學系碩士，同年於學系兼任講師。她的畢業展 《現存與不存 之間：文鳳儀繪畫作品展》和論文探討抽象藝術在當代的新意義。這一年作品參加日本 福岡美術館的《第十四屆亞洲國際美術展覽》。
2003年，作品《讚星禮斗》嬴得香港藝術雙年展優 秀獎 （香港藝術館收藏） The ork Twinkle Twinkle Little Star won the Prize of Excellence at the Hong Kong Art Biennial Exhibition 2003 (Collected by Hong Kong Museum of Art)
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Man obtained a Masters in Fine Arts af the Chinese University of Hong Kong and worked as a part-time lecturer there. Her graduation exhibition along with the thesis titled ‘In Between Presence & Absence: Paintings by Man Fung-yi’ explored new meanings of abstract art in the contemporary context. The same year, her work was selected for ‘The 14th Asian International Art Exhibition’ at Fukuoka Asian Art Museum in Japan.
2000
文和莫為不同中、小學校策劃公共藝術計劃，直至2007年為止。參與展覽有香港康樂及 文化事務署主辦的《當代香港藝術2000》、《溫莎•牛頓全球繪畫巡迴展覽》(倫敦、 巴黎及紐約)、《香港、韓國當代紙本藝術創作展 》及《面具在威尼斯之（三）》，第 三屆國際年展及網上藝展。
Man and Mok organized various public art projects for primary and secondary schools until 2007. Man also participated in the ‘Contemporary Hong Kong Art 2000’ organized by the Hong Kong Leisure & Cultural Services Department, ‘Winsor & Newton Worldwide Millennium Painting Exhibition’ in London, Paris and New York, ‘Contemporary Art Work on Paper by Hong Kong & Korea Artists’ in Korea and ‘Marks in Venice III, the 3rd International Annual Exhibition & Art Internet’.
2001
2003年，莫文二人到日本越後妻有考察公共藝術 A journey of Mok and Man to Echigo-Tsumari, Japan for research on public art in 2003
文氏的兒子出生。 作品在意大利《面具在威尼斯之（三）》，獲第三屆國際年展及網 上藝展優秀獎。同年，她初嘗以線香在絲絹上灼上小孔，留下一圈又一圈整齊的圓形圖 案，完成作品《仿閨閣繪畫行為》。另一方面，她和莫參與香港康文署及房屋署合辦公 眾藝術計劃邀請賽，獲兩項入選獎，並獲委托製作四件作品。 Man’s son was born. Man also received the Award of Excellence in the ‘Masks in Venice 3, the 3rd International Annual Exhibition & Art Internet, Venice, presented’ by Art Addiction Gallery in Sweden. This year, Man tried a new technique – burning small holes in silk with joss sticks, creating round upon round of neat circular patterns. With this technique, she completed a work Simulation of an Ancient Lady by Painting. Moreover, she and Mok won the Selected Award in the Open Competition for Public Art Project jointly presented by the Leisure and Cultural Services Department and Housing Department. They were commissioned four pieces of work for the project.
2003
非典型肺炎在香港爆發。文的親人患上重病，她再以香、火和絹創作，彷彿向上天焚香 祈求祝福，在憂心忡忡的情況下控制手灼小孔的力度尤其困難；其後她的親人康復了， 她把這作品命名為《讚星禮斗》，代表她對上天的謝意，這件細膩動人的作品獲得2003 年香港藝術雙年展優秀獎。
2005年，《讚星禮斗》雕塑系列 “Constellation sculpture series in 2005
SARS broke out in Hong Kong. One member of Man’s family became critically ill. Once again, Man used joss sticks, fire and silk, as if burning incense to pray for Heaven’s blessings. Her relative eventually recovered, and she later named the work Twinkle Twinkle Little Star as an expression of her gratitude to Heaven. This refined and touching art piece won the Prize of Excellence at the Hong Kong Art Biennial Exhibition. 2005年，《公眾與私密間：文鳳儀、莫一新家庭作業 展，藝遊鄰里計劃III》的開幕禮 At the opening ceremony of ‘Between Public & Private An Exhibition of Their Artworks as Family by Man & Mok, AIN Scheme III’ in Hong Kong in 2005
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2004
文和莫積極進行多個公共藝術項目，他們再度入選康文署及房屋署合辦公眾藝術計劃 公開賽，製作銅雕作品《微足之路》。文氏為母校英華女校創作金屬壁畫裝置及為柏 林愛心熊、香港民政事務總署等主辦《熊熊愛心連世界》創作繪畫，現設置於香港公 共空間。 2005年，與高名潞教授在《牆：中國當代的歷 史與邊界》合照 With Professor Gao Ming-lu at ‘The Wall: Reshaping Contemporary Chinese Art Exhibition’ in 2005
Man and Mok were actively involved in public art projects. They were once again selected for the Public Art Project jointly presented by the Leisure and Cultural Services Department and Housing Department, and they created a bronze sculpture The Footsteps of Worms. In the same year Man returned to her former school Ying Wa Girls’ School to create an outdoor mural installation, and participated in the ‘Painting on the United Buddy Bear’ organized by Buddy Bear Berlin and Hong Kong Home Affairs Bureau, which is now installed in a public space.
2005
2008年，與丈夫莫一新在澳門藝術博物館的 《超以象外－中國抽象繪畫作品展》中，背 後為文氏的參展作品 Man and her husband Mok Yat-San at ‘Beyond the Surface: Chinese Abstract Art Exhibition’ in Macau Art Museum in 2008 with her abstract painting at the back
文氏進一步把小孔鑽在黃銅上，創作了立體作品《(愛不釋手》系列，思索對愛的捕捉 與放手的關係，亦開始《讚星禮斗》雕塑系列。 參與展覽包括《牆：中國當代的歷史 與邊界》 (紐約布法羅大學美術館及北京中華世紀壇)、《讚星禮斗：文鳳儀作品展》 (香港)、《公眾與私密間：文鳳儀、莫一新家庭作業展，藝遊鄰里計劃III》(香港）。 公共雕塑方面， 與莫為香港國際機場裝置雕塑《遷想天方》。
She progressed to drilling small holes in brass, creating her first three-dimensional work, To Cuddle or Not to Cuddle series, which pondered on the process of holding firm and letting go of love. The same year, she started the “Constellation” sculpture series. Participated exhibitions included ‘The Wall: Reshaping Contemporary Chinese Art Exhibition’ at the University of Buffalo Art Galleries and the China Millennium Monument in Beijing, ‘Twinkle, Twinkle Little Stars- Artworks by Man Fung-yi’ in Hong Kong and ‘Between Public & Private - An Exhibition of Their Artworks as Family by Man & Mok, AIN Scheme III’ in Hong Kong. As for public art, Imagination of the Sky was commissioned by the Hong Kong Airport Authority.
2007
參與展覽包括《香港國際當代藝術博覽會展》(香港展覽中心）、《水墨當代：非水亦 墨》(香港藝術公社)、《香港回歸十年展》(成都美術館）、《監獄美術館展，香港域 多利監獄》(香港藝術公社及中西區區議會)。在路易威登及Sovereign亞洲藝術基金主 辦的亞洲藝術獎獲入圍獎，並受香港地鐵委託於九龍站圓方裝置《微足之路》（木）。
Man participated in Hong Kong International Contemporary Art Fair (Hong Kong Exhibition Centre), ‘Ink Contemporary: INK non INK’ (Hong Kong Artist Commune), ‘Exhibition in Celebration of the 10th Anniversary of Hong Kong’s Return to China’ (Cheng Du Art Museum) as well as ‘Victoria Prison Art Museum Exhibition’ (Hong Kong Artist Commune). She was one the Top 30 Finalists in the 2007 Sovereign
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2008年，文和莫製作《微觸》，設於沙田大 會堂城市藝坊 Minute Emotions, collaboration of Mok and Man in 2008 for the Hong Kong City Art Space
Asian Art Prize presented by Louis Vuitton and the Sovereign Asian art Foundation; and completed a wood sculpture Trails by Worm in collaboration with Mok, which was commissioned by the MTR Corporation for Elements, Kowloon MTR station.
2008
獲香港中文大學文化與宗教學系碩士（道教研究）。開始雕塑《編織親密》系列。 參與展覽包括《香港國際古玩及藝術品博覽會》(香港會議展覽中心)、《中國抽象藝 術三十年展》(西班牙巴塞羅那、帕爾馬及馬德里la Caixa Forum美術館）、《香港藝 術：開放、對話展覽系列—新水墨藝術—拓展者》(香港藝術館）、《超以象外－中 國抽象繪畫作品展》(澳門藝術博物館)。於Sovereign亞洲藝術基金主辦亞洲藝術獎入 圍，並獲邀於沙田城市藝坊製作雕塑作品《微觸》。
Man obtained Master of Arts (Daoism), Cultural & Religious Studies from the Chinese University of Hong Kong and began making Weaving Intimacy series. She exhibited at the Hong Kong International Arts and Antiques Fair (Hong Kong Convention Centre); ‘Chinese Abstract Art for 30 years Exhibition’ (Madrid, Barcelona & Palma La Caixa Forum Museums); ‘08 Hong Kong Art: Open Dialogue Exhibition Series – New Ink Art: Innovation and Beyond” (Hong Kong Museum of Art) and “Beyond the Surface: Chinese Abstract Art Exhibition’ (Macau Art Museum). She was awarded Top 30 Finalists in the 2008 Sovereign Asian Art Prize by the Sovereign Asian Art Foundation and she created the work Minute Emotions in collaboration with Mok for Shatin City Art Square.
2009
2007年，與未足六歲的兒子參觀《監獄 美術館展，香港域多利監獄》 Visiting ‘Victoria Prison Art Museum Exhibition’ with nearly-6-years-old son in 2007
四月，文氏的雕塑作品《寧謐》在蘇富比亞洲當代藝術香港藝術部份拍賣，以港幣 112,500成交。她亦剛於北京今日美術館參加由著名的高名潞教授策劃的《意派 — 世紀 思維》展。
Tranquility, a set of two brass sculptures were auctioned at the Contemporary Asian Art Sale in Sotheby’s Hong Kong on 6th April for $ 112,500. She participated in the exhibition ‘Yi Pai – Century Thinking Exhibition’ at Beijing Today Art Museum, curated by renowned Professor Gao Ming-lu.
2009年，呂振光教授在火炭的工作室戴 上《編織親密》作品 Professor Lui Chun-kwong wearing Man’s stainless steel hat at Fotan studio, Hong Kong in 2009
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About Galerie Ora-Ora
關於Galerie Ora-Ora
Galerie Ora-Ora, a fine art gallery and art consultant in Hong Kong, works to bring high quality, innovative and representative artworks by artists from Europe, China, America and Australia into Hong Kong for appreciation, investment and collection. With Ora-Ora meaning “from one era to another” or “eternity”, we believe that good quality art survives through generation. We aspire to provide Hong Kong artists with an international platform and exposure to bloom with their imagination and creativity. We believe that art has no frontiers and should be experienced by anyone in the world. Art is a lifestyle.
Galerie Ora-Ora 不單是畫廊，也是藝術顧問，提供來自歐洲， 中國，美國和澳洲既高質素又有創意和代表性的作品供藝術 愛好者欣賞、投資及收藏。Ora-Ora 意指「由一個時期到另一 個時期」或者「永恒」，我們深信好的藝術作品能夠世代長 存。我們盼望能讓香港藝術家踏上國際舞臺，使他們無限的 想象和創作力得以發揮。我們相信藝術是無界限的，任何人 也應該能夠欣賞和分享。 藝術是一種生活方式。
Address Hong Kong : 12/F, 41-43 Graham Street, Central Beijing : Unit 2308, Block 1, Wanda Plaza, 93 Jianguo Road, Chaoyang District, Beijing, 100022 China
地址 香港 : 中環嘉咸街41-43號12樓 北京 : 北京朝陽區建國路93號萬達廣場1號樓2308室 郵編100022
Tel No. : Fax No. : Email : Website :
電話︰ (+852) 2851-1171 傳真︰ (+852) 8147-1767 電郵︰ info@ora-ora.com 網址︰ www.ora-ora.com
(+852) 2851-1171 (+852) 8147-1767 info@ora-ora.com www.ora-ora.com
Contributor : Hattie Lam Photography : 4D Studio
鳴謝︰林向盛 攝影︰4D Studio
Printed in Hong Kong, September 2009 ISBN 978-988-18648-1-9
2009年印於香港 書號 ISBN 978-988-18648-1-9
All rights reserved under Ora-Ora International Limited. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photograpy, recording or by any information storage and retrieval system, without permission from the publisher.
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