The Art of Prints x Especially for Books: Special Exhibition on International Ex Libris

Eternal Relationship: My Love for and with Books A brief history of ex-libris in Hong Kong Dr. Sarah Ng Research Assistant Professor Academy of Visual Arts, Hong Kong Baptist University In an era which witnesses the decline of print media, books and bookstores, it is believed that ex-libris has become even more unknown and unheard of. Since people in the past cherished books with great affection and tenderness, ex-libris, just like identity cards of books, was designed to serve as a mark of ownership. Nowadays, ex-libris is not merely a fine manner of literati who label their names on books for the practical identification purpose. Similar to philately, ex-libris is also an object of collection for hoarders and a field of study that reflects the culture and historical conditions of a specific time and space. Perhaps out of cultural differences, the habit of collecting books shows a regional disparity. While in China, seals were used as a mark; in Europe, ex-libris which was designed first and then directly pasted on books was a preferable practice. With the invention and widespread use of printing, books were widely popularized and ex-libris began to come into sight. The earliest known example was thought to date from the 15th century. At that time, aristocrats produced one of the first ex-libris illustrated with an angel when presenting books to monasteries as gifts. Later when Europeans landed on Asia, ex-libris was spread to Japan and China afterward. The dimensions of ex-libris vary, depending on the size of books. Generally, an illustrated ex-libris with texts takes the form of 3 x 5 inches, produced from woodcut printing, lithography, etching or color process printing. Not only does it bear the name of the owner, it also features aphorisms and mottos that express insights of and appreciation to reading 1

and book collecting. Most likely because the art of prints has been highly valued by the Japanese, ex-libris caught their attention and appeared in Japan as early as in the 18th century. While in China, it only became popular during the Republican period. As for Hong Kong, only until 1980s, when the local renowned collector and painter Yu Yuanhong founded the Hong Kong Ex-libris Association with other print-makers who were also interested in collecting ex-libris, such hobby of literati artists was introduced and promoted to the public. During an interview, Yu says, “no one knew what ex-libris was back then in Hong Kong. Neither did I. When I presented my exhibition of prints in Japan, a member from the Nippon Ex-libris Association saw my works and asked if I could make ex-libris. I even asked him what an ex-libris was. Soon after, he introduced me to the director of the Nippon Ex-libris Association and I founded the Hong Kong Ex-libris Association with some painter friends after heading back to Hong Kong.” In 1990s, Yu and eight (or nine) friends made ten ex-libris each and organized the first Hong Kong Ex-libris Association Exhibition at the Commercial Press in Central with a catalogue published. In the same year, they also co-organized the International Ex-libris Exhibition at the University Museum and Art Gallery, the University of Hong Kong. The association even became a member of the International Federation of Societies of Ex-libris Collectors with representatives participating in the biennial International Ex-libris Congress in different cities and awarded “Gold Award.” In its early years, the Hong Kong Ex-libris Association had only around a dozen of members all of which were artists who made ex-libris. It might seem to be a minority and elitist, but the quality of their ex-libris production was high and widely recognized in Asia and in the world. Examples include Yu’s wife Hung Mei Yee Clara and her sister Hung Oi Yee Malou, both of who are artists from Hong Kong. Specialized in etching, Malou Hung was awarded prizes including Mention Award in the 1st International Competition, Serbia in 2009 with "Olympic Equestrian Event in Hong Kong"; Medals of Honour at the 23rd International Biennial Exhibition of 2

Modern Exlibris, Malbork, Poland with "The Lady" and "A Child's First Birthday"; and Medal in the 14th International Biennial of Small Graphics Forms and Exlibris, Ostrơw Wielkopolski, Poland with "Farewell My Concubine!" In 2010, she was also awarded Gold Prize in Japan and is the first Chinese awardee of this prize. Collectors from Hong Kong also had a high degree of exchange with those from Taiwan and subsequently brought the European knowledge of ex-libris to Taiwan. For instance, Hong Kong scholar Dong Qiao who graduated from the Department of Foreign Languages and Literature of Taiwan’s National Cheng Kung University had conducted research on exlibris during his sojourn in Britain and published articles on the subject of ex-libris and related arts in Taiwan in 1980s. His articles explained the historical development of western ex-libris and the appreciation of ex-libris and aphorism and artistic value, supplementing a Western perspective to the art of ex-libris in Taiwan which had been influenced by a Japanese system. Hong Kong has exerted an impact on the development of modern exlibris art in Taiwan. Apart from Dong’s call for ex-libris exhibitions in Taipei, Taiwanese water printing expert Pan Yuan-shih was influenced by Hong Kong print-maker Mui Chong Ki as well. Pan discovered the ex-libris made by Mainland Chinese artists in Mui’s studio and was informed about the presence of ex-libris research institutions and exhibitions in Mainland China. In August 1980, Pan organized the first National Ex-libris Joint Exhibition and invited Mui, the then executive director of Ex-libris Research Institute in China, to participate and demonstrate the production of exlibris to the visitors. With the opening of the Hong Kong Central Library in the 21st century, the Hong Kong Ex-libris Association took part to co-organize the International Ex-libris Exhibition. The exhibition invited 92 Ex-libris artists from 25 countries and regions with around 200 exhibits proposed. With the absence of related exhibitions for more than a decade, an exlibris exhibition with collateral events finally take place in Hong Kong again. 3

After the public lecture organized by Academy of Visual Arts, Hong Kong Baptist University and the Hong Kong Ex-libris Association in mid-March this year, Sotheby’s also presented a collection of ex-libris by Dong Qiao in its auction in April. Furthermore, Academy of Visual Arts, Hong Kong Baptist University and Hong Kong Baptist University Library will now coorganize the first International Ex-Libris Exhibition, in the hope of bringing again this disappearing field of arts to the public and contributing to the continuity of this traditional art which saw the exchange between the East and the West. The great historical significance and the non-material artistic values presented by such art are what make the high art featured in art fairs, though extravagant, incomparable. Ex-libris is a high manner of literati, at once popular and notable. Very often, owners of ex-libris do not sell for money but trade for others' ex-libris as a commemoration of friendship. Ex-libris does not exist only for the sake of residing in a book but also acts as a vehicle to express affection and connect the likeminded. Collectors and artists need to appreciate each other before exchanging what they treasure. This transcends the relationship between men and artworks or books and thus becomes a bridge of interpersonal communication. The exhibition titled “The Art of Prints x Especially for Books Special Exhibition on International Ex-libris” will be held in Hong Kong Baptist University Library from April 20 through the end of May and open to the public. During the exhibition period, there will be talks related to ex-libris which invite the world-renowned ex-libris artist Malou Oi Yee Hung and the celebrated Taiwanese young artist Ni Yu-An to present their recent works, as a means to promote the art of ex-libris to the public. What’s more, the Hong Kong Ex-libris Association will also explain what ex-libris is and introduce how the association promotes the advancement of ex-libris in Hong Kong. Details can be found in the exhibition website.

情繫於書：香港藏書票簡史吳秀華博士視覺藝術院研究助理教授在印刷媒體、書藉及書局式微的年代，相信更加沒有人知道，或聽過甚麼是藏書票。古人因為對書藉的珍重而設計了藏書票，有如書的身份證一樣，看看藏書票上的圖案，就知道書藉是屬於那一家或那一位的收藏。藏書票除了是一種立票留名於書的文仕雅舉，用以作憑證的實際用途外，到今天，它與郵票一樣，已成為藏家搜集的對像。藏書票研究也成為一門學問，反映了每一個地方和時代的文化精神和歷史面貌。大概基於文化的差異，書藉收藏的習慣也有分別。中國以蓋章為記，歐洲則會把設計好的藏書票貼在書上。隨著印刷術的發明和廣泛應用，令書藉開始流行普及，藏書票也開始出現了。據傳世最早的藏書票出現的年代，藏書票可追溯至一四七零年。當時的貴族送書給修道院時，製作了一大款印有天使的藏書票作紀念，直至歐洲人來到亞洲，藏書票才先傳入日本，然後到中國。藏書票的面積大小不一，視乎書本大小而定，一般是三乘五寸印有圖文的小張，以木版、石版、銅版或彩色套印等，除了有收藏者的名字，亦有箴言式的辭句，表達讀書、藏書或愛書的心得。大概日本一向重視版畫藝術，藏書票自然更受到青睞，早於十八世紀日本已出現藏書票，中國則要到民國年代才開始流行。至於香港，則要到上世紀八十年代，由本地著名收藏家兼畫家余元康先生與一群愛好藏書票的版畫家成立了香港藏書票協會後，才開始把這種文人藝術家的精緻玩意，推廣給普羅大眾認識。余先生接受訪問時曾說：「香港以前無人知道甚麼是藏書票，我也不知道。有一次我在日本開版畫展，日本藏書票協會的會員看到我的版畫，跟我說可否做藏書票，我當時還問他甚麼是藏書票。後來他介紹了他們藏書票協 5

會的理事給我認識，回香港後我就跟一些畫家朋友成立了香港藏書票協會。」到一九九零年，余先生與八、九個朋友合作，每人做了十張藏書票，在中環商務印書館辦了第一屆香港藏書票協會會員作品展，並出版了作品集，同年又在香港大學美術博物館聯合主辦國際藏書票大展。 1992 年成為國際藏書票聯盟理事會會會，並次出席及參加在世界各地舉辦的每兩年一次的國際藏書票大會，並獲金獎等國際殊榮。香港的藏書票協會會員不多，早年雖然只有十多人，全部都是創作藏書票的藝術家，算是相當小眾和精英。不過香港藏書票製作的水準甚高，在亞洲以至國際上都屢獲殊榮。例如余先生的愛妻熊美儀（CLARA）和她的妹妹熊愛儀（MALOU），都是香港的藝術家。專攻銅版畫的熊愛儀，更屢獲國際獎項，例如以《香港奧運馬術》、《淑女》、《抓周》及《霸王別姬》，分別奪得二零零九年第一屆塞爾維亞藏書票提名獎、第二十三屆波蘭 MALBORK 國際現代藏書票雙年展榮譽獎及 OSTR O W WIELKOPOLSKI 波蘭國際小版畫及藏書票雙年展獎章等。熊愛儀亦於二零一零年奪得日本金賞獎，也是第一位華人獲此殊榮。香港的藏家亦與台灣有相當多的交流，並把歐洲的藏書票知識帶到台灣，例如畢業於台灣成功大學外文的香港文人董橋，他在旅居英國期間開始研究藏書票，並於上世紀八十年代在台灣的刊物，發表與藏書票藝術相關的文章，介紹西方藏書票演進歷史與發展狀況，以及票面藝術性與文句箴言的欣賞，為長久受到日本系統影響的台灣藏書票藝術，加入了西方的觀點。台灣近代藏書票藝術的發展，亦受到香港的影響。除了董橋撰文，呼籲台北應舉辦藏書票展覽外，台灣水印版畫專家潘元石受到香港版畫家梅創基的影響，參觀過他畫室收藏的大陸版畫家製作的藏書票，知道大陸有藏書票研究協會和展覽後，終於在 1990 年 8 月在台灣舉辦「第一屆全國藏書票聯展」，並邀請時任中國藏書票研究會常務理事梅創基參展，並即場進行製作藏書票的示範。踏入二千年後，香港中央圖書館的啟幕，特別與香港藏書票協會舉辦「國際藏書票展覽」，邀請了全球二十五個國家及地區的 92 位藏書 6 6

票創作者，提交了近二百份作品展覽。相隔十多載的沉寂，沒有相關展覽後，藏書票終於能在香港浸會大學圖書館展出，對於藏書票在香港的發展，起了舉足輕重、意義重大和深遠的影響和作用。本展覽的書票大部分由王楚民先生借出，他通過香港藏書票藝術家熊愛儀女士的協助，以其為他制作的《客家村》書票在國際藏書票大會時交換所得。引證藏書票作為友誼票據的例子，是非金錢價值所能衡量。為了讓公眾對藏書票有更全面和深入的認識，展出全世界接近廿個國家的作品。除歐洲中世紀傳統風格外，中國、現當代的風格也有。全部以創作風格和藝術水平挑選作品，當中更多是跟據技術水平來評核。整體以銅版制作的藏書票為主，也展出台灣年青版畫家王午的中國傳統水印木刻藏書票作對比，更邀請他為香港浸會大學圖書館設計了藏書票乙張，以示紀念圖書館為香港藏書票界所作出的供獻。展覽也在藏書票制作的技術層面作解釋，希望觀眾明白藏書票作為以書為家、另類版畫所需具備的特質。

大部份內容根據本年度訪問余元康先生和熊愛儀女士時筆錄

Collecting Ex-libris in Hong Kong Mr Edward C. M. WONG Original text: Edward Wong Edit: Sarah Ng Born in China in 1953, Edward Wong has worked in the business of financial investments for over 30 years. He was the treasurer of the Sun Hung Kai Bank and director of Schroders (Asia).

He met Malou Hung through the founder of Hong Kong Ex-libris Association John Y. H. Yu in the 1990s. He has begun collecting Chinese oil paintings as an investment and hobby since then. Owing to Malouâ&#x20AC;&#x2122;s detailed etching style, which required painstaking efforts and wholehearted devotion, he began to appreciate and collect Ex-libris. Wongâ&#x20AC;&#x2122;s first Ex-libris encounters were those decorative and framed ones, ready for hanging up for interior decoration or as gift items. Despite their small size, the making of Ex-libris sometimes are even more demanding than drawing. With love, appreciation and earnestness, he entered the world of Ex-libris as a layman, acquiring Ex-libris from Malou and her sister Clara . He then commissioned Malou to create his first Ex-libris marked with his name on it. This Ex-libris featuring the old Hakka village buildings was awarded honorary diploma and became the permanent collection of Jinling Library, China recently

He attended the FISAE congress(Spain) in 2014, where he met many distinguished collectors and artists from all over the world. He happened to commission the French master, Elena Hlodec, to make his second personal Ex-libris. This was an extraordinary experience for him and he was impressed by this masterâ&#x20AC;&#x2122;s sketching and printmaking skills. 8

After this congress, he also realized the main concerns of Ex-libris collectors and artists when exchanging Ex-libris. Without good Ex-libris, it is very difficult to exchange for equally high quality Ex-libris with other collectors as they seldom sell their Ex-libris but prefer through exchanges. With world reowned Ex-libris made by Malou, his Ex-libris exchanges started off well. He also noticed that there were many more Chinese collectors and artists than ever before attending the world Ex-libris congress, especially in reent years. Past FISAE congresses were 9dominated by European participants, in particular German collectors. From the Asian continent, only Japanese delegates could contribute a significant role in the congresses, while Hong Kong and Taiwan delegates could only serve as nominal minorities. Since FISAE congress (Beijing) in 2008, more Chinese attend the biennial congressand become one of the main nationalities there. European artists are particularly fond of the Chinese collectors and have lots of Exlibris commission orders and exchanges with them. He remembered one Chinese collectorâ&#x20AC;&#x2122;s comments, â&#x20AC;&#x153;As an art collector, there is nothing like Ex-libris collection in that you can have your name appearing on a museum exhibit, and the cost is only minimal!â&#x20AC;? This collector is pround of having his personal Ex-libris collected by the British Museum. Through exchanges, his horizon expands to know more about different cultures and print making techniques and he also make acquaintance with new Ex-libris enthusiasts from other countries. Many collectors and artists have their distinctive features and styles. For example, one collector is fond of owls and many of his personal Ex-libris feature owls as a theme. In light of the fierce global economic competition, people have no choice but to become more pragmatic in life. Even in Eastern and Western Europe, Russia and Japan, places that traditionally bred many excellent artists for decades, the new generation of artists might find art creation as a career not adequately compensated for. Hence, when the current generation of Ex-libris artists retires, would anyyoung artists be willing to follow their footsteps? There is the worry of a fault line in the making. It is fortunate that the Chinese presence has contributed to the increase 9

in demandRelationship: for Ex-libris as well as prints, driving up artist fees along the Eternal way, energizing the market to attract new artists and high quality artworks, My Love for, with and inside Books offering new impetus to Ex-libris and print making.

A brief history of ex-libris in Hong Kong and curatorial statement Dr. Sarah Ng Research Assistant Professor Academy of Visual Arts, Hong Kong Baptist University

The ex-libris depicting an owl is made by Elena Hlodec. This is also the one being held by Edward Wong in the following picture. 圖為下圖王楚民手持、由 Elena Hlodec 制作的藏書票

The above personal ex-libris is made by Elena Hlodec and commissioned by Edward Wong in 2014. The face on the book is Edward Wong and the artist likes to paint owl in her most of her works. It also includes Edward’s favorite horse in it. 圖為王先生請 Elena Hlodec 為他制作的個人藏書票，票中包括王自己的樣子和他最愛的馬匹，另外也有藝術家喜歡的貓頭鷹。

From Lleft: Malou Hung, Edward Wong, Elena Hlodec Taken at the FISAE Congress in Spain in 2014 左起 : 熊愛儀，王楚民 , 法藉藝術家 Elena Hlodec 攝於西班牙國際藏書票大會

收藏藏書票有感 —— 王楚民先生原文 : 王楚民編輯 : 吳秀華王楚民（一九五三年生），香港人，從事金融投資工作超過三十年，曾任新鴻基銀行司庫及亞洲施羅德投資銀行董事，自九十年代起投資和收藏中國油畫。王透過香港藏書票協會創始人余元康，認識了專門創作銅版畫的熊愛儀和她創作的藏書票，受其風格細膩吸引，啟發了王對藏書票的興趣。王最初接觸到的藏書票，均是用作裝飾、大量生產和在藝術商品市場流通的藏書票。這類藏書票一般裝裱在畫框內，以便置於室內作家居裝飾或作送贈親朋友好的禮物。藏書票面積雖小 , 但製作過程頗繁複，一張好書票的藝術價值能妣媄甚至超越繪畫。王自稱為藏書票的門外漢，但幸得熊愛儀和她姐姐熊美儀的慷概轉讓，獲她倆多年來從國際藏書票大會（FISAE congress）交換回來的作品，成為王第一批個人書票收藏。至於王首張訂製、有其票主名字的藏書票，便是熊愛儀以觀瀾版畫村內客家村樓群為主題的藏書票，並獲首屆金陵圖書館全國藏書票邀請展榮譽及收藏。而王的第一個世界性書票活動，是 2014 年的西班牙國際藏書票大會，藉熊在銅版畫界的國際享譽盛名的地位，得以與各國收藏家交換有錢也難買到的藏書票。他更邀請到法國頂尖藏書票藝術家 Elena Hlodec 為其訂造人生的第二張個人藏書票。在過程中，王驚訝於藝術家的超群的人物寫生技巧、獨特設計和一流的製版和印版技術。這次經驗令王了解到中國收藏家和藏書票商按年大幅增加，自 2008 年北京國際藏書票大會後，及後的國際藏書票大會，已不再是以西方人為主，中國已成為藏書票大國，大會甚至提供普通話傳譯，可見中國人參與的程度和重要性。王轉述一位東北收藏家對藏書票的感受：「作為藝術收藏家，有什麽藝術投資，花費不多，但卻能把自己名字在博物館展品上出現 ?」因為他其中一張個人藏書票，已被英國博物館收藏展出。國際藏書票大會是一個提供與藝術家和收藏家交流的平台，不但能增加與會者對藏書票的認識，而且也從中了解到異國文化、擴濶國際視野、創作技巧和藏書票的風格特色。最後，王提出了他對藏書票藝術正面臨青王不接的問題，他期望近年市場對中國藝術品的收藏熱，能為香港藏書票帶來正能量和發展新動力。 11

Highlights 精選展品 Ex-libris of Hong Kong Baptist University Library 香港浸會大學圖書館藏書票

WANG WU 王午 Taiwan 台灣 2015 -16 22 x 17.5 cm Woodcut 水印木刻

MALOU HUNG 熊愛儀 Hong Kong 香港

2014 10 x 14 cm Etching with Aquatint, Viscosity Color and Hand Color 凹版一版多色手上彩

A Hakka Village Like Hung’s other works, she is fond of combining techniques and elements from the East and the West. This ex-libris depicts a typical Hakka village in the southern part of China where both the artist and collector visited together. The theme is a Chinese setting depicted in a western perspective. The buildings are deliberately ‘flattened’ to make it look more like fairy tales. The children playing in the foreground are also thus also ‘flattened’ and look rather short and fat. This reflects the tastes of Chinese who likes fat kids as a sign of blessing, suggesting the wealth of the family. The background is also blurred out by mist to give a sense of ‘freshness’ in the air, and to provide a sharp silhouette of the Hakka village. (Albert Yip) 熊愛儀很喜歡把東方和西方的藝術風格匯聚一起，客家村這作品用了西方透視技法，但作者卻刻意把圖像壓平了一些，令建築物看起來更像童話中的蘑菇般的小屋，同樣地，玩耍中的孩童亦是壓矮了，看上去都是胖胖的很可愛，這就是中國傳統的喜歡把小孩子畫得很胖，因那表示家中有糧，過著不愁衣食的好生活，是福相。背景是畫得朦朦朧朧的，正和前景線條明朗的建築物帶出強烈對比和生氣。( 葉偉枝 )

JÜRI ORLOV Estonia 愛沙尼亞 1998 12.2 x 7.5 cm Etching with Aquatint, Viscosity Color

凹版一版多色剪裁不同型狀的薄銅板

ELENA HLODEC France 法國 2012 10 x 17 cm Etching with Aquatint, Viscostiy Color

細點腐蝕剪裁不同型狀的薄銅板一版多色 15

WOJCIECH EUCZAK Poland 波蘭 1993 11.9 x 8.4 cm Copper Engraving 雕凹線法

YACHNIN OLEG Ukraine 烏克蘭 1998 16 x 10 cm Etching with Aquatint 細點腐蝕

SHIGEKI TOMURA Japan 日本

2009 9.8 x 7.1 cm Etching 腐蝕版

2013 9.8 x 9.8 cm Etching 腐蝕版

PAOLO ROVEGNO Italy 意大利 15.8 x 11.2 cm 2-Plate-Etching 雙版腐蝕

ELLY DE KOSTER Nederlands 荷蘭 1993 8.3 x 9.5 cm Etching with Hand Color 腐蝕版手上彩

JOSEF WERNER Germany 德國 12.9 x 10.3 cm Etching with Aquatint 細點腐蝕多版彩色

SERGEY KIRNITKIY Ukraina 烏克蘭 2007 10.5 x 12.8 Etching with Aquatint 2 Copperplates 凹版多色塗抹印刷

VE'N ZOLRIU Hungary 匈牙利 11.5 x 8.6 cm Etching with Aquatint 線條腐蝕加細點

OREST KRYVORUCHKO Ukraine 烏克蘭

1987 6.9 x 5.4 cm Intaglio Engraving 雕凹線法

VE'N ZOLRIU Hungary 匈牙利

12.3 x 9.8 cm Embossing Etching 線條腐蝕加細點

13 x 11.9 cm Embossing Etching 線條腐蝕加細點

Techniques and symbols used in printed Ex-libris

藏書票制作技巧和符號

Artist's Signature and Numbering 藝術家所簽的姓名與號數 Example: "12/20" - "Beasts" - "Picasso signature" This means that this print is #12 of a limited edition of 20 prints. Its title is Beauty and was made by Picasso. 每一件版畫都需經過藝術家的同意並簽名編號。通常在作品的左下角有編號和簽名，編號的方式如「12/20」分母代表作品之總數，分子則代表張數之次序 , 作品名字和藝術家簽名則在中下及右下方。

Print edition 版畫版本試印版 / 畫家自用

AP, A．P or A/P, Artist proof E.A. or E.P.A

Same as E.A., E.P.A, i.e. Epreuve d'Artiste (in French) 有限定張數

Present/ Printer’s proof

贈送用

H.C.

Hors Commerce (in French), same as E.A.

樣本作 / 非賣品

Basic subdivision 基本分類 Intaglio

凹版

The ink is deposited from the grooves of the plate 是印紋在印版表面雕刻凹下的製版技術 Relief

凸版

The ink is deposited from the reliefs of the plate 是印紋在印版表面雕刻凸出的製版技術 Lithography

平版

The ink is deposited from the flat surface of the 平版是指使用一種油脂性的蠟筆材料 plate, through stone or metal

塗繪在石版 ( 或金屬版 ) 表面腐蝕成印版的技術

Selected Common Techniques 精選常用技法 Code

Annotations [Original] Intaglio Techniques

凹版技法

Intaglio printing (blank); embossing(C=Chalcographite) 凹版 The word 'embossing' was added in the English version, as it is a commonly used term.

Steel engraving 鋼版雕刻 Remains as it was in the 1958 list. It is a very specific process, which must not be confused with etched-steel printing, which bears P10.

Burin (graver or gouge) engraving, notably on copper This takes into account the fact that fewer artists use copper today 銅版雕刻 than other metal supports, and that zinc and other metals are commonly worked with the burin, a traditional tool whose mark on the plate is easily recognisable.

Etching 蝕刻 A widely-used scratched hard-ground etching, and meant to cover also direct brush or pen etching

Drypoint 直刻 Easily recognised by the 'burr' on printed lines, its tool or 'needle' can be used for stippling or in 'crayon' manner, as a mechanical method other than burin or mezzotint.

Aquatint A well-established and specific technique of direct acid etching

Soft-ground or other ground-based etching 軟防腐液或 This category covers forms of chemical process other than hard- 糖水腐蝕 ground and direct etching, and aquatint. It includes sugar lift etching, salt etching and other variants of soft-ground.

Mezzotint 美柔汀 This is fortunately a sufficiently specific and recognisable process so that its definition and symbol was not changed.

Intaglio engraving on linoleum, plastic & other materials 壓克力塑膠 A general category covering intaglio engraving on other materials 版直刻 than metals, e.g. linogravure and engraving of plastics (or acrylics)

Lithography 平版 Relief techniques (original) 凸版技法凸版 Relief Printing (blank) (x=Xylographie) 木刻版 Woodcut Other symbols 複合技法 Mixed Technique Number after the technical symbols = number of passes through 套印色數 the press Monotype 單刷版 Hand-coloured 手上彩

X X1 MT --/No M or / mon.

/col.

細點腐蝕／飛塵腐蝕

Reference

潘青林：藏書票藝術解碼 ( 台北，2009 )，頁 18-19。

http://www.fisae.org/techsymbols.html http://theme.ntmofa.gov.tw/artnew/html/5/601.htm 23

Malou Maria Oi Yee HUNG Born in 1963, Hung has more than 30 years’ experience in making Ex-libris and etching prints. Her works have been collected by museums, awarded and exhibited in many countries. In addition to many Ex-libris albums of her works, she has written an introduction to printmaking and Ex-libris entitled, Etching Techniques & the Art of Ex-libris (Taiwan, 2008) which became one of the most important technical manual for printmaking. Exhibitions 2017 Guangcheng Art Museum, China 2016 22nd New Taipei City International Exlibris Exhibition 2012 Chinese Impressions: Contemporary Ex-libris Prints (Shanghai and Washington, DC) 50th Anniversary of Heilongjiang Provincial Museum Commemorative Exhibition 2011 "Roving" touring exhibition in Taiwan 2009 1st Guangzhou International Exlibris and Mini-prints Biennale Exhibition, China 2008-9 "Roving" touring exhibitions in Taiwan 2007 Solo exhibition in the world’s largest Ex-libris museum, Frederikshavn Art Museum The only Hong Kong artist invited to participate in “Year of the Pig 2007” design exhibition in Tainan City Cultural Centre, Taiwan 1st South China (Guargzhou-Hong Kong) Small Oil Painting Exhibition (Guangzhou and Hong Kong) 2006 Exhibition held at Instituto Zacatecano de Cultura Ramón López Velarde and other significant places in Mexico 2004 Exhibiion at Galerie Art im Treipen Haus, Germany 1992 “Oriental Ex-libris” section in Ex-libris Exhibition, Slovenia Awards Malou’s works have been widely exhibited and collected by museums and libraries in various cities throughout China, Taiwan, and Europe. Many of them have been awarded with world prestigious prizes, including her A Hakka Village ex-libris awarded with an honorary diploma and became permanent collection of Jinling Library, China in 2016, her Jiufan series won the Honorable Mention in FISAE Congress in Spain 2014 as well as in the 24th International Biennial of Small Graphic Forms and Exlibris, Ostrow Wielkopolski, Poland, etc. 24

熊愛儀一九六三年生於香港，有三十多年創作藏書票經驗，其作品在世界多個國家被

收藏、得奬、入選及展出。除著《銅版畫技與藏書票藝術》( 台灣，2008 年 ) 一書外 , 並出版多部個人作品集 , 如《熊愛儀藏書票原票集》 (2012 年 ) 等。展覽

2017

廣東省莞城美術館「繁花靜美」展

2012

黑龍江省博物館五十週年紀念展

2016

2011 2010

第廿二屆台灣新北市國際藏書票展「中國印象：當代版畫藏書票」陸家咀梅園杯國際藏書票邀請展入選台灣全球華人藝術創作發表協會「華表」巡迴展首屆「中國廣州國際藏書票暨小版畫雙年展

2008-9 入選台灣「華表」巡迴展 2007

首屆中國嶺南油畫 ( 穂港 ) 小幅精品展覽 ( 香港及廣州 )

2006

墨西哥第五屆國際藏書票展

2007 2004 1992

丹麥 Frederikshavn Art Museum 藝術館個展德國 Galerie Art im Treipen Haus 展出斯洛文尼亞藏書票展東方藏書票

奬項

曾獲多個國際藏書票獎項 , 例如近年有首屆金陵圖書館全國藏書票邀請展獲榮譽證書及普及藏書票事業組織奬 (2017)、國際當代版畫雙年展榮譽奬 (2016)、第 35 屆國際藏書票大會獲得榮譽奬 (2014 西班牙 )、「第廿四屆波

蘭 Malbork 國際現代藏書票雙年展」獲榮譽奬及奬狀 (2014)、白俄羅斯雙年展提名奬 (2013)、國際藏書票大會的榮譽奬 (2012 芬蘭 ) 等。

Yu-an NI 1981

Born in Taipei, Taiwan

Education 2014

PhD, College of Arts, National Taiwan Normal University, Taiwan

2007

Master of Fine Arts, Taipei National University of the Arts, Taiwan

2004

achelor of Fine Arts, Taipei National University of the Arts, Taiwan

Selected Solo Exhibitions 2015 "Wang Wu Woodcut Solo Exhibition”, Fo Guang Shan Museum, Paris, France 2014 “Wang Wu”, Moon Gallery, Taichung, Taiwan 2011 "Wang Wu”, Gallery Gallery, Kaohsiung, Taiwan 2008 "Wang Wu”, Moon Gallery, Taichung, Taiwan 2006

“Wang Wu”, Is Found Art Space, Kaohsiung, Taiwan

2006

"Wang Wu”, Since Well Humanistic Gallery, Kaohsiung, Taiwan

“Wang Wu”, Providence University Art Center, Taichung, Taiwan 2002

“Wang Wu”, Nanbei Gallery, Taipei, Taiwan

Group Exhibitions 2006 “Place/Displace: Three Generations of Taiwanese Art”,

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2006 “The 12th International Drawing and Printing Biennial”,

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2005 “Art of the E Generation in Taiwan” , National Taiwan Museum of

Fine Arts, Taichung, Taiwan

2005 “Place/Displace: Three Generations of Taiwanese Art”, Pacific Asia Museum,

L. A., U.S.A.

Collections Taipei Fine Arts Museum National Taiwan Museum of Fine Arts Kuandu Museum of Fine Arts 26

倪又安一九八一年生於臺北，現為國立臺灣藝術大學美術學系兼任助理教授。從大學

時代迄今，分別以王午、趙陸、章三等化名發表不同類型之作品，如王午便是

版畫創作用的化名。參與「赫島社」、「大崙尾藝術工作隊」等藝術團體的活

動。創作涵蓋版畫、行為、觀念、總體藝術、油畫、水墨等。另外，以本名發表學術論文和筆名安懷冰撰寫藝術評論及策畫展覽。 2014

國立臺灣師範大學美術系藝術創作理論博士，主修藝術指導。

2004

國立臺北藝術大學美術系學士，主修版畫。

2007

國立臺北藝術大學造形研究所版畫組碩士，主修版畫。

王午 ( 版畫 ) 部份個展 2015

二○一五王午木刻版畫個展，佛光山法華禪寺佛光緣美術館，法國巴黎

2011

吟詩冊——王午個展，畫廊，高雄

2014 2008

清涼無色——王午個展，月臨畫廊，臺中

2006

王午個展，月臨畫廊，臺中

清香滿室——王午個展，御書房，高雄

2006 2004

王午個展，新思惟人文空間，高雄

王午個展，靜宜大學藝術中心，臺中

2002

王午個展，南北畫廊，國立臺北藝術大學，臺北

部份聯展

2006 台灣三代藝術家，福華沙龍，國立臺灣美術館，臺中

2006 第十二屆中華民國國際版畫及素描雙年展，國立臺灣美術館，臺中 2005 e 術誕生——臺灣新秀藝術展，國立臺灣美術館，臺中

2005 原鄉與流轉——臺灣三代藝術展，加拿大溫哥華列治文美術館

（並巡迴至：美國喬治亞州哥倫布市哥倫布州立大學畫廊、加州洛杉磯亞太藝術博物館，以及國立臺灣美術館）

獲獎及典藏 2010 二○○九高雄美術獎，版畫類優選 2006 二○○六臺灣藝術文化獎（臺灣國際文化交流協會頒發）行政院文化建設委員會、國立臺灣美術館、臺北市立美術館、國立臺北藝術大學關渡美術館、佛光山佛光緣美術館 27

Exhibit Captions 展品目錄

1 - 7 8

9 10

12 13

15 16 17

WANG WU 王午 Taiwan 台灣

2015-16 22 x 17.5 cm Woodcut 水印木刻 Chen Cheng-po Series (Special & Limited Edition) 陳澄波全集 ( 極品珍藏版 )

JÜRI ORLOV 1998 1998

Estonia 愛沙尼亞

12.2 x 7.5 cm 13.3 x 8.5 cm

SERGEY KIRNITCKIY

Ukraine 烏克蘭

PAOLO ROVEGNO

Italy 意大利

YACHNIN OLEG

Ukraine 烏克蘭

ELENA HLODEC

France 法國

2007 10.5 x 12.8 cm Etching with Aquatint 2 Copperplates 凹版多色塗抹印刷

1998 16 x 10 cm

15.8 x 11.2 cm 15.6 x 15.9 cm

2-Plate Etching 雙版腐蝕 2-Plate Etching 雙版腐蝕

Etching with Aquatint 細點腐蝕

2014 12 x 18 cm Etching with Aquatint, Viscostiy Color 細點腐蝕加金箔一版多色 2012 10 x 17 cm Etching with Aquatint, Viscosity Color 2014 17.8 x 12 cm 細點腐蝕剪裁不同型狀的薄銅板加金箔一板多色

Dyhigizy alla

Russia 俄羅斯

JOSEF WERNER

Germany 德國

1964

12.2 x 7.5 cm

ELVYRA KATALINA 1993 15.8 x 11.2 cm

Etching with Aquatint, Viscosity Color 凹版一版多色剪裁不同型狀的薄銅板

12.9 x 10.3 cm

Lithography 平版

Etching with Aquatint 細點腐蝕多版彩色

Lithuania 立陶宛

Etching with Aquatint, Viscosity Color 細點腐蝕剪裁不同型狀的薄銅板一版多色

21 22 23

ELENA HLODEC

France 法國

ELLY DE KOSTER

Netherlands 荷蘭

SHIGEKI TOMURA

Japan 日本

2012 11.8 x 6.6 cm Etching with Aquatint, Viscostiy Color 細點腐蝕剪裁不同型狀的薄銅板加金箔一版多色 15 x 11.5 cm Etching with Aquatint, Viscostiy Color 細點腐蝕剪裁不同型狀的薄銅板一版多色 2011 9 x 12 cm Etching with Aquatint, Viscostiy Color 細點腐蝕剪裁不同型狀的薄銅板一版多色 1993

8.3 x 9.5 cm

2009 2013

9.8 x 7.1 cm 9.8 x 9.8 cm

HRISTO KERIN 13.8 x 10.5 cm

Bulgaria 保加利亞

ZDZISKAW MAJ

Poland 波蘭

28 29

5.1 x 3.4 cm 2.9 x 4 cm

Etching with Hand Color 腐蝕版手上彩 Etching 腐蝕版 Etching 腐蝕版

Etching with Aquatint, Viscosity Color 一版多色 Intaglio Engraving 雕凹線法 Intaglio Engraving 雕凹線法

OREST KRYVORUCHKO Ukraine 烏克蘭 30

31 32 33

34 35 36

6.9 x 5.4 cm

Intaglio Engraving 雕凹線法

VÉN ZOLRIU

Hungary 匈牙利

WOJCIECH EUCZAK

Poland 波蘭

1994 1993 1993

12.3 x 9.8 cm 13 x 11.9 cm 11.5 x 8.6 cm 6.2 x 6.9 cm 13 x 11.9 cm 9 x 9 cm

Etching with Aquatint 線條腐蝕加細點 Etching with Aquatint 線條腐蝕加細點 Etching with Aquatint 線條腐蝕加細點 Intaglio Engraving 雕凹線法 Intaglio Engraving 雕凹線法 Intaglio Engraving with Hand Color 雕凹線法手上彩

「以書為家」X 另類版畫國際藏書票特展

The Art of Prints x Especially for Books: Special Exhibition on International Ex-libris Curator 策展人 Dr. Sarah Ng 吳秀華博士 Collector 藏家 Mr. Edward Chor Man Wong 王楚民先生 Opening Ceremony 開幕禮 2017.04.20 2:30 pm Exhibition 展覽 04.20.2017 - 05.31.2017 Au Shue Hung Memorial Library, Hong Kong Baptist University 香港浸會大學區樹洪紀念圖書館講座 Public Lecture 客席講者 Guest Speaker 倪又安博士 Dr. Ni Yu-an 微型版畫：從臺灣藏書票談起 Mini Prints: To Begin with Bookplates in Taiwan 2017.04.20 12:00 pm 藝術無疆界 : 近代台灣的視覺表述與文化構圖 Art Without Borders: Visual Representations of Culture and Tradition in Modern Taiwan 2017.04.20 7:00 pm 30

Organizers 主辦

HONG KONG BAPTIST UNIVERSITY

LIBRARY 香港浸會大學圖書館

Academy of Visual Arts, HKBU 香港浸會大學視覺藝術院

Hong Kong Baptist University Library 香港浸會大學圖書館

Acknowledgement 鳴謝

Regal Printing Limited 利高印刷有限公司

vChen Cheng-po Cultural Foundation 財團法人陳澄波基金會

Hong Kong Ex-libris Association 香港藏書票協會

Author and Editor: Dr. Sarah S. W. Ng Curator: Dr. Sarah S. W. Ng Collector: Mr. Edward C. M. Wong Artists: Ms. Malou O. Y. Hung English Translation: Dr. Sarah Ng, Mr. Andy H. T. Cheng Exhibition Team: Ms. Lolita Kwok, Miss Rebecca Chan, Dr. Sarah Ng Design by Miss Rebecca Chan Poster designed by Pauline Ho Printing by Regal Printing Limited Published by Hong Kong Baptist University Library and AVA HKBU First Published in April 2017 in Hong Kong Address: Renfrew Road, Kowloon Tong All Rights Reserved (Not for Sale) All rights reserved. No part of this publication may be reproduced in any form by any means, graphic, electronic or mechanical, including photocopying or information storage and retrieval, without the written permission of the copyright owner(s). AVA and library of the Hong Kong Baptist University and the author is an authorised publisher of this publication. Any unauthorized reproduction of this publication will result in immediate legal proceedings. Acknowledgement Regal Printing Limited, Chen Cheng-Po Cultural Foundation, Hong Kong Ex-libris Association, Mr. John Yu and Ms. Clara Hung, Mr. Maurice Kwan, Mr. Albert Yip, Miss Pauline Ho, etc.