china in China
前 言
那從美麗的維多利亞港兩側的海平面上，擠出許多 宏偉摩天大廈的「石屎森林」，逐漸構成了專屬於香港 的獨特景貌；是一幅由玻璃、鋼鐵和混凝土建築堆成， 與商業和金融掛鉤的現代化大都市影象。無疑，這是大 部份訪港旅客對香港的印象。但對於長於斯的本地人來 說，這個城市所蘊含的遠多於此。位於中國南端的海岸 線上，這片被珠江三角洲和南中國海水域包圍著的土地 ，有約百分之七十為開放空間。二千年來，居住在這裡 的人們從不間斷地傳承著中國古代文化與藝術；而因著 在最近百多年間受大不列顛帝國殖民管治的影響下，香 港對比中國周邊地區亦確立了一種與眾不同的文化。 香港藝術家兼建築師馮永基就是從這種多元的文化 歷史背景下，孕育出宋彩華姿系列的創作靈感。作為一 位本地知名建築師，馮氏近年自他長期服務的政府崗位 上退下來後，便全情投入藝術創作；與此同時亦為各藝 術及場地發展諮詢委員會擔任顧問工作。馮氏的建築理 念是「少即是多」，而這種概念同樣反映於他的美術實 踐中；他那嫻熟的空間處理技巧，從他畫中水墨與色塊 精心構成的虛實對比中可見一斑。 馮氏為古代中國畫大師的作品所啟廸，亦蒙受1960 年由呂壽琨（1919-1975）領導的香港「新水墨運動」 影響。他在使用傳統物料和技巧上，納入古時如宋代藍 綠色風景畫的美學精神；而他強烈富現代感的構圖亦為
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建築與藝術之間，以至香港的獨特藝術文化建立橋樑。 馮永基曾提及自己的作品深受香港郊區如離島、西貢及 船灣等地方啟發；他以簡約的構圖展現主體的本質、獨 特之處及個性，同時消除非必要的形像、外觀和概念。 馮氏的畫作教我們活動視線，遊走於他的構圖上，並以
豐富的水墨變奏及色彩選擇為觀眾提供城市中的喘息空 間。馮永基代表了香港於21世紀「新水墨運動」中的領 先優勢。 在此我特意感謝馮永基先生一直以來創作如此漂亮的 作品，以及他與萬玉堂畫廊保持的長期合作關係，能與 一位這樣專注的藝術家合作，是我們的榮幸。另外，我 想藉此就萬玉堂員工為籌備宋彩華姿展覽而付出的努力 表示謝忱；簡家鼎先生為展覽統籌，亦為本畫冊提供翻 譯；傅詠彤小姐則負責這本精美畫冊的設計工作。
宋彩華姿 是一個展示馮永基–一名真正的香港活寶 藏–近作的獨特平台，本人誠意邀請萬玉堂的所有朋友 及顧客一起來欣賞馮永基的藝術之美。
麥史鏑 香港 2012年3月
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The landscape of Hong Kong is characterized by its beautiful harbor flanked by more and more grand skyscrapers squeezing out the waters on the Hong Kong Island and Kowloon peninsula shores. It is an image of a modern metropolis of glass, steel and concrete concerned with only commerce and finance. This image is certainly true and is what most visitors to Hong Kong experience but to the people of Hong Kong there is much more to their city. In fact about 70% of Hong Kong’s land is open space and the city is surrounded by the open waters of the South China Sea and the Pearl River Delta. It is a place that has been inhabited for at least 2000 years and has an uninterrupted lineage to the ancient culture and arts of China. Due to its recent colonial period as a vassal of Great Britain a special culture has established that contrasts Hong Kong from the surrounding Chinese regions.
Foreword
techniques in his compositions and channeling ancient aesthetics such as the blue green landscapes of the Song dynasty, Raymond’s modern atmospheric compositions bridge the variety and sometimes disparate elements of Hong Kong’s unique culture. He has stated that his paintings are inspired by the deserted areas such as the city’s surrounding islands and the open spaces of Sai Kung and Plover’s Cove. His minimalistic approach to his compositions expose the essence, essentials and identity of his subjects through eliminating all non-essential forms, features and concepts. Fung’s paintings are a delight to the eye exercising our viewpoint and encouraging movement through his compositions while offering relaxation with his choice of colors and ink tone. Raymond Fung now represents the leading edge of New Ink Painting Movement in 21st century Hong Kong.
It is from this milieu that Hong Kong artist and architect Raymond Fung has drawn his inspiration for his china in China series. Now retired after a long career as a noted architect working for the Hong Kong Government, Raymond now pursues his fine art practice full time while also serving on an array of advisory committees that concern the development of art and art related venues in Hong Kong. Raymond’s philosophy in architecture is that less is more and this approach is mirrored in his fine art painting practice. He has mastered the vital skill of dealing with space, as is evident in his paintings with carefully composed ink or color blocks that emphasize the contrasts of solid and void.
I want to thank Raymond Fung for the beautiful work that he continues to produce and for the long relationship he has maintained with Plum Blossoms Gallery. It is an honor to work with such a dedicated artist. I also would like to acknowledge the fine work of my staff at Plum Blossoms who have done a beautiful job in mounting the china in China exhibition. Khadinn Khan has acted as Project Coordinator and has provided the translations in this exhibition catalogue. Monica Fu has done a great job with the catalogue design. I thank them for their exceptional contributions. china in China is a unique showcase of recent paintings by Raymond Fung, a true Hong Kong living treasure. I invite all of our friends and clients to enjoy the beauty of Raymond Fung’s art.
Fung draws inspiration from the ancient masters of Chinese brush painting but also acknowledges the influence of the 1960’s New Ink Painting Movement in Hong Kong led by Lu Shoukun (1919-1975). Using traditional materials and s the blue green landscapes of the Song dynasty, Raymond’s
Stephen McGuinness Hong Kong March, 2012
山 水 情 懷 香 港 心
上海美術館的方增先館長在一篇序文中如是說： 「馮永基的山水畫承繼五代北宋董源、巨然諸家，近學張 大千、李可染為師，其大幅水墨或色塊組成的層次，展現 氣韻，大氣磅礡，渾厚沉郁而不失蒼秀潤澤，使得他的山 水作品不僅有著濃郁的中國傳統特色和情調，且帶有較强 的現代感，體現了傳統和現代的共融」。 也許，這是評論家從我畫面上觀察所得的客觀效果， 但作為從事建築設計的資深工作者，我特別强調空間的變 奏，讓構圖的筆觸營造動感，既橫跨連屏的空間，更衝出 畫面甚或畫框以外，給人任意聯想浮編。 我追求的構圖嚴謹而層次鮮明，畫面刻意留下大幅的空 白，猶如建築語境所彰顯的中庭，既是一種視覺的層次， 又或是心靈所依，讓[留白]留給觀賞者自由無垠的獨白。 我的畫面形式雖擬似那山那水，內容卻非取材實景。 我喜愛以借景來營造空間，借空間的感覺來描繪一直期待 的烏托城邦，反映所生所長的香港，在無法還原底下巒山 群嶼的淒美浮光。 我的色彩蘊涵背後意義，有時描繪暮色迷茫的香江島 嶼，有時呈現宋代陶瓷的樸拙輕柔，代表內心强烈追憶往 昔尚未污染的吾土吾情。 透過重叠交替的墨觸，尤其在虛 實對比所營造的厚重、陰鬱、雄邁、疑霾、嘆息，釋放出 一個終日沉緬於追求理想的浪漫情懷。
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馮永基 二零一一年冬 班門弄
In the Mood for Hong Kong Landscapes
Shanghai Art Museum Director Fang Zenxian once stated in his Preface to my catalogue - “Raymond Fung’s landscapes inherit styles of the Five Dynasties and Northern Song masters like Dong Yuan and Ju Ren, as well as modern masters Zhang Daqian and Li Keran. His large ink and color blocks create paintings with atmospheric grandeur, strong in density yet elegant and graceful in spirit. On one hand, his paintings generate the spirit of aesthetics in tradition, on the other hand develop itself from the ‘contemporary’ expression. It is fair to read Fung’s paintings as a harmonic fusion of the tradition and the modern.” Maybe this is a subjective observation drawn by a critic looking at my paintings surface. As a seasoned architect, I especially emphasize on the variations in space. I want my brushstrokes that create compositions to generate motions, to stretch across the space between panels, and rush out beyond the picture, giving viewers freedom to roam in their imagination. I pursue disciplined compositions and distinctive layers in my paintings, deliberately leaving large piece of void, much like having a courtyard in architectural context. It is a visual arrangement and a spiritual retreat, a void to leave viewers with borderless freedom for monologue.
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My paintings may appear to resemble a particular mountain or sea, but my content does not derive from any actual scenery. I like to make use of an open scenery to create a space, allowing the feelings a scenery offers me to portray a utopia I always long for – to represent Hong Kong, which I was born and raised in, as a nature of poignant mountain ranges and flocking islands which can not be restored in reality.
The implications of my selected colors sometimes depict Hong Kong islands in swaddling mists, sometimes represent the delicate and simplicity of Song Dynasty ceramics. They all represent my strong feelings toward this place in a period before it is polluted. Through overlapping brush strokes, especially the density, gloomy, grandeur and gasp created by the balancing of solid and void, my romantic senses for pursuing the ideal can be realized. Raymond Fung Wing Kee Winter 2011 Archivilla
Afternoon at Sai Sha Wan 午後西沙灣
Ink and color on paper Signed “Wing Kee”, with two seals of the artist 59 x 252 cm 2012
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RF0043
china in China No.1 宋彩華姿 (一)
Ink and color on paper Signed “Wing Kee”, with two seals of the artist 180 x 48 cm 2011
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RF0044
china in China No. 13 宋彩華姿 (十三)
Ink and color on paper Signed “Wing Kee”, with two seals of the artist 180 x 48 cm 2011
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RF0045
china in China No. 6
宋彩華姿 (五)
宋彩華姿 (六)
Ink and color on paper Signed “Wing Kee”, with one seal of the artist 34 x 34 cm 2011
Ink and color on paper Signed “Wing Kee”, with one seal of the artist 34 x 34 cm 2011
RF0048
RF0049
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china in China No. 5
1. china in China No.9 宋彩華姿 (九)
Ink and color on paper Signed “Wing Kee”, with one seal of the artist 34 x 34 cm 2011 RF0050 2. china in China No.10 宋彩華姿 (十)
Ink and color on paper Signed “Wing Kee”, with one seal of the artist 34 x 34 cm 2011 RF0051 3. china in China No.12 宋彩華姿 (十二)
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2.
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3.
Ink and color on paper Signed “Wing Kee”, with one seal of the artist 34 x 34 cm 2011 RF0052
china in China 宋彩華姿
Ink and color on paper Signed “Wing Kee”, with four seals of the artist Set of Two 180 x 48 cm x 2 2011
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Private Collection RF0041
Sound of Islands No.4 離島的叮嚀(四)
Ink and color on paper Signed “Wing Kee” and dated “2011” in Chinese, with three seals of the artist Set of Two 180 x 48 cm x 2 2011
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RF0046
Dialogue with Hans Ulrich Obrist conducted in May 2009
Once he discovered the professional and artistic work of one Raymond Fung, LEAP Contributing Editor Hans Ulrich Obrist took immediate interest. In Fung, Obrist saw a practitioner who had made real on the longtime crossover between art and architecture in a practice divided somewhat uncharacteristically into a “day job” as a municipal architect and a separate career as an ink painter. As Fung’s major solo exhibition “The Artistic World of Raymond Fung” concludes the Beijing stop on its world tour, we offer some excerpts from an interview with the former disciple of I.M. Pei in which Obrist aims to explore the similarities between Fung’s work in public and on paper. Hans Ulrich Obrist: At the moment we have many artists who are also architects, such as Olafur Eliasson and Ai Weiwei. For a long time you have been both an artist and an architect. Could you talk a little bit about the bridge between art and architecture. What came first? Raymond Fung: Well, in the first place, I am an artist, but not a professional one. As a kid I was so fond of art, of scribbling on paper, of trying to represent the things in my mind onto paper. Once I came into practice as architect, I tried to see how the two can mesh together. In any of my projects you can see a lot of little forms of art being incorporated. After I became an architect, I could make use of art; now I departed architecture and returned to art, but you can still see my Chinese painting contains a lot of space, the interplay of space, in a two dimensional piece of work.
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HUO: Could you talk a little bit more about your work as a painter? Who are your influences in painting?
RF: Oh, first of all, the first one, very early on, was Zhang Daqian, in the early 1970s. Actually, I have one piece of work from my early period that somehow takes reference from his work. Later on I tried to create my own character, developing more over the years. HUO: But then you were inspired by the traditional, as there is such a long distinguished history of Chinese painting. Wang Hui, from the seventeenth century, was a great pioneer. Who are the pioneers who inspire you from previous centuries? RF: Oh, the pioneers. Before Zhang Daqian there were several guys. One was Shi Tao. Coming back to more recent times…maybe I should be more pragmatic. Let me see. More of a direct influence on me would be Lui Shou-kwan is the man, the influence in Hong Kong modern art. He is from the early 1960s. He’s no longer alive. But being more direct, I would consider me as the first person who influenced me. HUO: Your paintings are always connected to landscape, or very often, correct?
RF: Yes, of course there are some, but most of them are just painted in Hong Kong. HUO: Now when you paint, do you paint them very fast, or very slow? How do you work? RF: Fast and slow. When I’m doing the big brush strokes, that has to be fast because they all come instantly. But once you come to the very meticulous details, that will take more time, so it comes with very bold form, then to the smaller forms, the smaller details. HUO: And do you do sketches before doing big ones? RF: No, no, no. HUO: And is it a state of meditative concentration, what’s the state you put yourself into to do drawings? RF: I think this state is just between the soul and the working position. I’m very strong in that, I don’t know how to explain that to people. It just happens. HUO: Art happens. RF: It all happens. When I have a big brush and I’m doing it onto the paper and I can start to create a kind of a contrast, being black or being white, being empty or being full.
horizontality? RF: I always want to limit myself to a certain format, and to work within that format. And maybe this is the kind of the pressure in life or maybe this is a very architectural attitude. I tried to squeeze myself into a very extreme format and to work within it, to work within and beyond it. If you look at my work, you have to see it from inside the outside. You can actually see that I’m trying to break through, that the whole composition itself is trying to work beyond this boundary. HUO: Do you have any unrealized projects? Promenades? Dreams? Utopias? RF: My favorite unrealized project… the museum of contemporary art. HUO: Your museum of contemporary art never got built? RF: I was given the job and it never got built. In Hong Kong we don’t have good quality museums built so far, and I was given the job, so I tried very, very hard to realize it, but unfortunately, it was shut down by some people over ten years ago. And now I’m waiting for another person to realize it in West Kowloon. But I’m not the architect any more; I’m just a member of the committee in West Kowloon.
HUO: Obviously, there is a long, long tradition of landscape painting in China. Do you think there has been progress? RF: This is a very sensitive question, some say yes, some say no. So it depends. If you are looking from the Western perspective, there is no progress because they look so similar. But for me, I see there is progress. HUO: So, within your own logic there is a progress. RF: Yes there is a progress. Of course it goes very slow. Which I think is very natural to Chinese culture. Everything goes so slow. I think it always goes back to the mindset of the people. We are conservative, therefore we do everything one at a time, and therefore progress is very slow.
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HUO: And you use a lot of horizontal formats. Why the extreme
This interview originally appeared in the October 2011 issue of LEAP magazine.
與 零 小 九 漢 年 五 斯 月 對 談 二
零
《藝術界》特約編輯小漢斯第一次看到一個叫馮永基的人的設計和藝術作品就馬上對他產生了興 趣。在馮永基身上，小漢斯看到了一種長期在建築和藝術的交互實踐中形成的獨特視覺—馮永基的日常工 作是城市建築師，但他同時也是一位水墨畫家。日前馮永基的個展“馮永基的藝術世界”全球巡迴來到了 最後一站北京，我們摘抄了小漢斯與這位前香港市政建築師、貝聿銘學徒的訪談，在這個訪談中，小漢斯 嘗試挖掘了馮永基的公共作品與紙上作品的相似性。 小漢斯: 現在有很多人既是藝術家也是建築師，比如奧拉
馮永基：哦，首先，第一個，也是最早期的影響是張大
弗·埃利亞松和艾未未。而你很長時間以來也是身兼藝術
千，那是在1970年代早期。其實我有一張早期的作品在某
家和建築師的身份。能不能簡單談談藝術和建築之間的關
種程度上是參考張大千的。後來我不斷嘗試創造自己的風
聯？孰先孰後？
格，隨著時間越來越鮮明。
馮永基: 嗯，首先，我是個藝術家，但不是一個職業藝術
小漢斯: 但畢竟你是受傳統啟發的，中國畫有那麼悠久而
家。我從小就熱愛藝術，經常在紙上寫寫畫畫，想將我腦
輝煌的歷史。比如17世紀國畫家王翬就是個偉大的先鋒。
海裡面的東西呈現在紙面上。而我從一開始做建築，就會
過去幾個世紀有沒有哪些先鋒人物啟發過你？
去思考怎樣將二者結合在一起。在我所有建築項目當中你 都會看到一些小的藝術形態融在裡面。當了建築師之後，
馮永基:
哦，說到先鋒。張大千之前有好幾個人。一個是
我就可以利用藝術了；現在我離開了建築，回歸藝術，但
石濤。回到更近代……或者我應該更實際些。讓我看看。
你還是會看到我的中國畫裡麵包含了很多的空間，空間與
對我有直接影響的一個人是呂壽琨，他影響了香港現代藝
空間的互動，在二維的作品中。
術。他是1960年代早期的人。現在已不在了。不過也許再 直接一點說，我會認為我自己才是第一個影響我的人。
小漢斯: 你能再多談談你的繪畫藝術嗎？誰曾影響了你的
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繪畫？
小漢斯:
你的畫總是，或者說經常跟風景有關的，對嗎？
馮永基：是，當然有一些是，但是大部分都是在香港畫
歸結為中國人的思想。我們是很保守的，所以我們總是一
的。
件事一件事地來，所以進步非常緩慢。
小漢斯: 你現在畫畫是畫得很快，還是很慢？你是怎麼工
小漢斯: 你還用了很多水平形式。為什麼會是這麼極端的
作的？
水平形式？
馮永基: 也快也慢。大筆揮毫的時候必須得快，因為那都
馮永基: 我總想將自己限制在某一種形式裡。我嘗試將自
是一剎那間的事，但是一旦到了一些精細的部分，就需要
己壓縮進一種非常極端的形式，在裡面創作，被限制的同
花更多的時間，所以一開始總是很大膽的大形，然後是小
時又超越它。看我的作品你要從裡往外看。這樣你會看到
形，然後是更小的細節。
我正在嘗試衝破，整個構圖本身都是在嘗試超越這種界 限。
小漢斯:
做大作品時你起稿嗎？
馮永基:
不，不，不。
小漢斯: 你有沒有什麼未完成的項目呢？漫遊？夢想？烏
小漢斯: 一揮而就。這是一種冥想集中的狀態嗎，你進入
托邦？ 馮永基:
我最愛的未完成項目……當代藝術博物館。
小漢斯:
你的當代藝術博物館沒能建起來是嗎？
繪畫的狀態是怎樣的呢？ 馮永基: 我想這種狀態是介乎靈魂和工作位置之間的。我 在這方面感覺很強烈，但是我沒有辦法向其他人解釋。它
馮永基: 我曾經受委託，但是它沒有建成。在香港到目前
就這樣發生了。
為止我們都沒有好的博物館建築，而我得到了那份工作， 所以我非常努力地想去實現它，不過很不幸，它大概在十
小漢斯: 馮永基:
藝術發生了。 都發生了。拿著一把大刷子往紙上畫的時候，
我就開始創造某種對比，是黑的還是白的，是空的還是滿
年前被某些人終止了。現在我正在期待另一個人在西九龍 將它實現。不過我現在已經不是建築師了，我只是委員會 的成員。
的。 小漢斯: 顯然，中國有非常非常悠久的山水畫傳統。你認 為中間有過進步嗎？ 馮永基: 嗯，這是一個很敏感的話題。有些人說有，有些 說沒有，所以它很難講。如果從西方的角度看，是沒有進 步，因為它們看起來都太相似了。但是從我的角度來看， 我認為是有進步的。
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小漢斯:
所以根據你自己的邏輯是有進步的。
馮永基: 是有進步。當然過程很緩慢。而我認為這在中國
原文為英文/ 翻譯: 梁幸儀
文化裡為是很自然的。每樣事物都緩慢發展。我認為這最
(本篇訪問刊於《藝術界》雜誌2011年10月版)
Hong Kong Landscape Series No.12 香港系列 (十二)
Ink and color on paper Signed “Wing Kee”,with two seals of the artist 38 x 177cm 2010
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RF0040
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Blue Rhythm 藍色變奏
Ink and color on paper Signed “Wing Kee”, and dated “2011” in Chinese, with two seals of the artist Set of Four 140 x 35 cm x 4 2011
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RF0042
Hong Kong Mountain Series - Sharp Peak 香港名山系列 - 蚺蛇尖
Ink and color on paper Signed ‘Wing Kee” and dated “2010 Spring” in Chinese, with three seals of the artist Set of Two 140 x 35 cm x 2 2011
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RF0047
Sam Sing Wan 三星灣
Ink and color on paper Signed “Wing Kee” and dated “2010” in Chinese, with two seals of the artist. 30 x 180cm 2010
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RF0053
Tolo Channel 赤門
Ink and color on paper Signed “Wing Kee” and dated “2010 Spring” in Chinese, with two seals of the artist. 30 x 180cm 2010
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RF0039
Ko Lau Wan 高流灣
Ink and color on paper Signed “Wing Kee” and dated “2010 Spring” in Chinese, with two seals of the artist. 30 x 180cm 2010
25
RF0038
Great Mountains of Hong Kong 香江名山圖
Ink and color on paper Signed “Wing Kee”, with two seals of the artist Set of Two 140 x 35 cm x 2 2009
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RF0033
1.
2.
1. Return from Tibet No. 1 川藏系列 (一)
Ink and color on paper Signed “Wing Kee”, with one seal of the artist 140 x 35 cm 1999 RF0002 2. Return from Tibet No.4 川藏系列 (四)
Ink and color on paper Signed “Wing Kee”, with two seals of the artist 140 x 35 cm 2000
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RF0009
Snow 傲雪
Ink and color on paper Signed “Wing Kee”, with one seal of the artist 34 x 34 cm 2005
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RF0025
Don’t be Let Down 煙雲雨後有晴天
Ink and color on paper Signed “Wing Kee”, with one seal of the artist 50 x 60 cm 2002
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RF0032
Welcome Home 翠山迎
Ink and color on paper Signed “Wing Kee”, with one seal of the artist 24 x 200 cm 2009
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Private Collection RF0034
Sound of Islands No.2 離島的叮嚀 (二)
Ink and color on paper Signed “Wing Kee”, with two seals of the artist Set of Three 140 x 35 cm x 3 2010
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Private Collection RF0037
Biography
Born in 1952 in Hong Kong, Raymond Fung is a renowned artist and architect in Hong Kong. He was a recipient of the award Hong Kong Ten Outstanding Young Persons in 1990 and has won five HKIA Annual Awards. His works have been selected in China National Art Exhibition, Hong Kong Art Biennial and HKDA Asia Design Awards multiple times. In 2008, he received the Certificate of Commendation from HKSARG Home Affairs Bureau for his outstanding achievements in the promotion of arts and culture in Hong Kong. He was awarded Hong Kong Ten Outstanding Designers and in 2011, Fung was appointed Justice of the Peace. Fung has exhibited extensively in New York, Paris, Beijing, Shanghai, Avignon and Hong Kong. His works are widely collected by international corporations and museums including Asian Art Museum of San Francisco, National Art Museum of China, Shanghai Art Museum, Hong Kong Museum of Art, University Museum and Art Gallery, HKU and Hong Kong Heritage Museum. Fung is now the Adjunct Associate Professor in the School of Architecture, Chinese University of Hong Kong, Board Member of the West Kowloon Cultural District Authority, Honorary Adviser of Art Museums in Hong Kong and Member of Advisory Committee on Revitalization of Historic Buildings. Fung has published over 150 articles and is a co-writer of 5 books on architecture and urban design.
Solo Exhibitions 2012
china in China
Plum Blossoms Gallery
Hong Kong
L’art de Raymond
Cloitre Saint Louis
Avignon, France
2011
The Art of Raymond Fung
Sinitude Gallery (Beijing)
Beijing, China
2010
Hong Kong Lyric: Paintings by Raymond Fung
Paris, France
Hong Kong Lyric: Paintings by Raymond Fung
Sinitude Gallery (Paris)
Paris, France
Hong Kong Lyric: Paintings by Raymond Fung
University Museum & Art Gallery, HKU
Hong Kong.
2001
Raymond Fung Ink Painting
Shanghai Art Museum
Shanghai, China
2000
New Paintings by Raymond Fung
Hong Kong
1998
Raymond Fung Ink Painting
Zhejiang Exhibition Centre
Hangzhou, China
1997
Raymond Fung Ink Painting
Caelum Gallery, SoHo
New York, USA
1996
Hong Kong Artists Series: Fung Wing-kee
Hong Kong Museum of Art
Hong Kong
1992
One-man Exhibition
Hong Kong Arts Centre
Hong Kong
1986
One-man Exhibition
American Library
Hong Kong
1985
One-man Exhibition
La Cadre Gallery
Hong Kong
The Landmark
Hong Kong
One-man Exhibition 32
Galerie Yvan Roubin
Exchange Square
Major Group Exhibitions 2011
2010 2009 2008 2007 2006
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2004 2000 1999 1998 1997 1996 1995 1994 1992 1991 1990 1989 1988 1987 1986 1985
The 100th Anniversary of Chinese Revolution Exhibition China National Art Gallery Hong Kong - Shenzhen Ink Art Exhibtion Shenzhen Fine Art Institute Shenzhen Ink Art Biennale Guan Shanyue Art Museum Ink vs Ink Exhibition Hong Kong Museum of Art International Ink Art Exhibition The China Millennium Monument Ink vs Ink Exhibition Shanghai Art Museum, Hong Kong Ink Painting Exhibition National Gallery, National Dr. Sun Yat-sen Memorial Hall, Hong Kong Water.Ink. Color Hong Kong Central Library, New Ink Art: Innovation & Beyond Hong Kong Museum of Art, Hong Kong Contemporary Art Atting House, MOCA China Charity Exhibition Pacific Place 3, HK Contemporary Chinese Ink Painting Exhibition Artist Commune of Cattle Depot, HK Return to China 10th Anniversary Art Exhibition Sichuan Art Gallery, Contemporary Hong Kong Ink Exhibition Shenzhen Art Gallery, Wonderland: Group show by Victor Lai, Andrew Lo and Raymond Fung (Fringe Program of the Hong Kong Art Biennial Exhibition 2005). Plum Blossoms Gallery, Art Kaleidoscope Plum Blossom Gallery, HK Cityscapes University of London, Chinese Ink Painting National Taiwan Normal University, International Biennial Neues Aquarell Kleinsassen Hong Kong Artists Exhibition Sichuan Exhibition Centre, Hong Kong Art Exhibition National Art Museum, Ink Paintings by Great Masters Duoyunxuan, Contemporary Hong Kong Painting Exhibition Fukuoka Art Museum The 8th National Art Exhibition National Art Museum of China, Hong Kong Art in LA Santa Monica Place Hong Kong Art Exhibition Kagoshima Prefectural Museum of Culture Reimeikan, Art Exhibition of the Artists Conference 5 Artists Exhibition Perimeter Gallery, Contemporary Hong Kong Art by 4 Major Artists Galeria De Leal Senado The 5th Asian International Art Exhibition Malaysia National Art Gallery Hong Kong Contemporary Art Schaumburg Hong Kong Contemporary Ink Painting Taichung Cultural Center Hong Kong Ink Painting Edmonton Provincial Museum, Contemporary Chinese Painting 1984-89 Harvard University, New Spirit by Hong Kong Artists Chinese Museum, The 7th National Art Exhibition National Art Museum of China, The 4th Asian International Art Show Seoul Metropolitan Museum 13 Major Hong Kong Artists Exhibition Mitsukoshi Art Gallery Hong Kong Modern Art National Art Museum of China, Ink Paintings by Hong Kong Artists Hong Kong Museum of Art, Two-men Exhibition Alison Fine Arts, International Ink Painting Festival Two-men Exhibition East & West Gallery, First Great Wall Art Exhibition Hong Kong Ink Painting Barbican Centre, Hong Kong Artist Exhibition Fuzhou Exhibition Gallery and Hubei Academy of Art , Philippe Charriol Modern Art Exhibition Fung Ping-shan Museum, The University of Hong Kong, 5 Dimensions De Camoes Museum, San Francisco ‘Hong Kong Week’ Art Show Union Square Contemporary Hong Kong Art Biennial Exhibition Hong Kong Museum of Art,
Beijing, China Shenzhen, China Shenzhen, China Hong Kong Beijing, China Shanghai, China Taipei, Taiwan Hong Kong Hong Kong Hong Kong Hong Kong Hong Kong Chengdu, China Shenzhen, China Hong Kong 2005 Hong Kong London, United Kingdom Taipei Germany Chengdu, China Beijing, China Shanghai, China Fukuoka, Japan Beijing, China Los Angeles, USA Kagoshima, Japan Seoul, Korea Chicago, USA Macau Kuala Lumpur, Malaysia Illinois, USA Taizhong, Taiwan Edmonton, Canada Boston, USA Melbourne, Australia. Beijing, China Seoul, Korea. Nagoya, Japan. Beijing, China. Hong Kong Hong Kong. Wuhan, China. Melbourne, Australia. Beijing, China. London, United Kingdom. Fuzhou & Hubei, China. Hong Kong. Macau. San Francisco, USA. Hong Kong.
簡 歷 一九五二年生於香港，為本港資深藝術家及建築師。他為一九九零年度香港十大傑出青年及五 度獲香港建築師學會之週年設計獎，並多次入選全國美術作品展，香港藝術雙年展及香港設計雙 年展。二零零八年獲民政事務局[藝術推廣嘉許狀]，他亦被選為香港十大傑出設計師及獲委為香 港太平紳士。 馮氏先後在紐約、巴黎、北京、上海、亞維濃、香港等地舉辦個展。其畫作廣為各跨國機構及 美術館包括三藩市亞洲美術館、中國美術館、上海美術館、香港美術館、香港大學美術館、香港 文化博物館所收藏。 馮氏現為香港中文大學建築學院兼任副教授、西九文化區管理局董事及委員、康樂文化署博物 館顧問及博物館委員會委員、活化歷史建築諮詢委員會委員。馮氏多年來亦發表有關城市建設的 文章，並參與[建築師的見觸思]、[香港百年建築]、[戀戀建築]、[視藝文集]及[台北品味之旅] 等書籍的協作。
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個人展覽 2012
宋彩華姿
宋彩華姿
Cloitre Saint Louis
萬玉堂
2011
馮永基的藝術世界
東方元素(北京)畫廊
2010
香江戀曲：馮永基水墨畫
YR畫廊
香江戀曲：馮永基水墨畫
香江戀曲：馮永基水墨畫
2001
水墨畫個展
上海美術館
上海
2000
馮永基新作展
交易廣場
香港
1998
水墨畫個展
浙江展覽館
杭州
1997
水墨畫個展
蘇荷士林畫廊
紐約
1996
香港藝術家系列：馮永基
1992
水墨畫個展
香港藝術中心
香港
1986
水墨畫個展
美國圖書館
香港
1985
水墨畫個展
Le Cadre Gallery
香港
水墨畫個展
置地廣場
香港
東方元素(巴黎)畫廊
香港大學美術博物館
香港藝術館
香港
亞維農 北京 巴黎
巴黎
香港
香港
主要群體展覽
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2011 2010 2009 2008 2007 2006 2005 2004 2000 1999 1998 1997 1996 1995 1994 1992 1991 1990 1989 1988 1987 1986 1985
辛亥革命百週年展覽 中國國家畫廊 深圳香港水墨畫展 深圳畫院 第七屆深圳國際水墨雙年展 關山月美術館 承傳與創造—水墨對水墨 香港藝術館 國際水墨畫大展 中華世紀壇 承傳與創造—水墨對水墨 上海美術館 香港水墨畫大展 國父紀念館國家畫廊 香港．水．墨．色 香港中央圖書館 新水墨藝術 香港藝術館 香港當代藝術展 Atting 畫廊 中國當代藝術館慈善展 太古廣場第三期 當代水墨大展 牛棚藝術村 香港回歸十周年藝術展 四川美術館 香港當代水墨大展 深圳美術館 幻．景(黎明海、馮永基、羅志權聯展) 2005香港藝術雙年展附屬展覽，萬玉堂 藝術萬花筒 萬玉堂 香港風情 倫敦大學 香港台灣水墨畫大展 國立台灣師範大學 德國國際藝展 香港藝術家聯展 四川展覽館 香港藝術 中國美術館 聯徵雲集 朵雲軒 香港現代繪畫展 日本福岡美術館 第八屆全國美術展 中國美術館 洛杉磯香港藝展 聖塔莫尼卡購物中心 香港藝術 日本鹿兒島黎明館 漢城畫家會議美術展 五人展 周界畫廊 香港新派水墨畫展 市政廳畫廊 第五屆亞洲國際美術展 馬來西亞國家畫廊 當代香港藝術 美國伊利洛州修伯特市 香港當代水墨畫 台中市立文化中心 香港水墨畫 艾蒙特博物館 中國的新風貌1984 – 89 哈佛大學 新風格 – 香港當代畫家展 澳華博物館 第七屆全國美術展 中國美術館 第四屆亞洲國際美術展 漢城大都會美術館 香港十三名家展 三越百貨美術館 香港現代藝術 中國美術館 香港水墨 香港藝術館 馮永基．郭漢深二人展 藝倡畫廊 國際水墨畫節 馮永基．徐子雄二人展 東西畫廊 長城首屆美術書畫展 香港水墨 巴比肯中心 香港美術家作品聯展 福州省展覽館易、湖北美術學院 夏利豪現代藝術比賽展 香港大學馮平山博物館 山水五步 澳門賈梅士博物館 「香港週」藝術展 聯合廣場 當代香港藝術雙年展 香港藝術館
北京 深圳 深圳 香港 北京 上海 台北 香港 香港 香港 香港 香港 成都 深圳 香港 香港 倫敦 台北 德國 成都 北京 上海 福岡 北京 洛杉磯 鹿兒島 漢城 芝加哥 澳門 吉隆坡 修伯特 台中 艾蒙特 波士頓 墨爾本 北京 漢城 名古屋 北京 香港 香港 武漢 墨爾本 北京 倫敦 福州、湖北 香港 澳門 三藩市 香港
Credits
This catalogue was published to accompany an exhibition presented at Plum Blossoms Gallery, Hong Kong which ran from 29 March to 18 April 2012.
Plum Blossoms Gallery
G6, 1 Hollywood Road, Central, Hong Kong Tel: (852) 2521-2189 Fax: (852) 2868-4698 Email: info@plumblossoms.com Website: www.plumblossoms.com
Foreword copyright © 2012 Stephen McGuinness Dialogue with Hans Ulrich Obrist copyright © 2011 LEAP Magazine Artist’s Statement copyright © 2012 Raymond Fung Translation & Editing – Khadinn Khan and Monica Fu Publishing Coordination – Khadinn Khan Book Design by Monica Fu Printed by Asia One Printing Limited
All right reserved. No Part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, nor may any part of the book be reprinted in newspaper or periodicals, used in public addresses films or dramatizations or broadcast in radio o television without the written permission of the artist. This applies as well to all text passages.
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ISBN No.: 978-988-19829-5-7