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Simplicity and Splendour: Chinese Furniture from the Ming Dynasty to Early Republican Period

Art Museum, Institute of Chinese Studies, The Chinese University of Hong Kong, Shatin

 

Encompassing more than 3000 years’ worth of literary and pictorial evidence, Chinese furniture art has enjoyed a long-standing history and tradition. With the advancement in both ways of living and craftsmanship, Chinese furniture attained its peak during the Ming and Qing Dynasties. Ming furniture is well-known for their moderate proportions, elegant but simple style and delicate workmanship. The natural grains and colors of the wood material are emphasized in the choice of material. Qing furniture shed Ming’s minimalism and favoured larger size, with more ornate pieces in a sturdy and grandiose style. Precious materials were also used to add luxurious and colourful details. Featuring 30 pieces of Suzhou style, Beijing style and Canton style furniture from the Ming Dynasty to early Republican period, this exhibition aims to show visitors the fascinating Chinese furniture art made with exquisite craftsmanship.

Jubilant Rams in Chinese Culture: Celebrating the Year of Ram

Art Museum, Institute of Chinese Studies, The Chinese University of Hong Kong, Shatin

 

According to the Chinese zodiac, 2015 is the year of the Ram. To welcome the new lunar year, the Art Museum, the Department of Fine Arts and the Department of Chinese Language and Literature jointly present the exhibition, "Jubilant Rams in Chinese Culture: Celebrating the Year of the Ram". This special exhibition includes a selection of over 40 paintings, ceramic pieces, carved jade and other gemstones, all of which relate to the ram. Beyond depictions of the ram in classical Chinese literature, this exhibition vividly illustrates the abundant and multifarious artistic representations of the ram's essence throughout Chinese culture. 

Until 26 April 2015

Splendid Images: Chinese Paintings from Eryi Caotang Collection

Art Museum, Institute of Chinese Studies, The Chinese University of Hong Kong, Shatin

 

Having collected modern Chinese painting for over four decades, the master of Eryi Caotang has assembled an extraordinary collection that provides an overview of the development of Chinese ink painting from the late 19th century to the 20th century. The exhibition features 70 masterpieces by well-known masters including Qi Baishi (1864-1957), Xu Beihong (1895-1953), Zhang Daqian (1899-1983), Lin Fengmian (1900-1990), Fu Baoshi (1904-1965), and Li Keran (1907-1989). Many of these paintings were collected during the 1970s and 1980s, when China gradually recovered from the aftermath of the devastating Cultural Revolution and when Hong Kong's economic boom fostered a new group of collectors. The master of Eryi Caotang was a typical Hong Kong businessman of that period, and his success in business led to his lifelong passion for Chinese painting and friendships with many prominent artists. As such, the collecting history in recent memory is intricately linked with the lives and practices of artists and the ties between Hong Kong and mainland China. 

Until 17 May 2015

The Art and Culture of Yixing Zisha Pottery

Art Museum, Institute of Chinese Studies, The Chinese University of Hong Kong, Shatin

 

Jointly organized by the Art Museum, Institute of Chinese Studies, The Chinese University of Hong Kong and the Flagstaff House Museum of Tea Ware, combining the treasures of two museums, this exhibition aims to demonstrate and explore the artistic achievements and developments of Yixing zisha pottery, as well as its cultural significance and social impact. The exhibits include 168 items from the Bei Shan Tang Collection of the Art Museum, The Chinese University of Hong Kong and 50 items from the K.S. Lo Collection of the Flagstaff House Museum of Tea Ware, totalling 218 items. The exhibition presents two main themes. The first is 'The Culture and Connoisseurship of Yixing Teapot' and the second centres on the uses of Yixing pottery beyond tea culture, with a special focus on archaistic vessels, elegant items for the scholar’s studio, and realistic sculptures.

11 April 2015 - 4 October 2015

Life is Only One: Yoshitomo Nara

Asia Society Hong Kong, 9 Justice Drive, Admiralty

 

The Hong Kong Jockey Club presents "Life is Only One: Yoshitomo Nara" – the first major solo exhibition of the renowned Japanese artist in Hong Kong. The exhibition title comes from one of Nara’s paintings, "Life Is Only One!" A provocative declaration – but of what? Nara invites Hong Kong visitors to give in to their imaginations and engage in a dialogue with the artist’s work and his world. Through a rich selection of paintings, sketches, photographs, sculptures and mixed-media installations covering a broad range of his oeuvre in the past two decades, the exhibition will present a journey into Nara’s open-ended interpretation of “life”.

6 March 2015 - 26 July 2015

Tempting Touch – the Art of Tong King-sum

Hong Kong Museum of Art, 10 Salisbury Road, Tsim Sha Tsui

 

Tong King-sum (1940-2008) was born in Hong Kong. He was keen on art in his younger days, and worked as a designer. He learnt sculpture under Cheung Yee in 1971. Tong became one of the founding members of the Hong Kong Visual Arts Society in 1974 and served as its President in 1992. Tong won numerous art awards in Hong Kong and Taiwan, including the "Urban Council Fine Arts Award (Sculpture)" in 1977 at the "Contemporary Hong Kong Art 1997" exhibition. He contributed tremendously to Hong Kong art and arts education.

Tong spent his childhood on Lantau Island, where he nurtured his love for nature. The human body, fruit and plants are the favourite themes of his works, which are characterised by a sleek form and texture. His torso sculptures depict the structure of human body, the texture of bone, flesh and skin in refined and precise manner. Be it the human body or a plant, his works are permeated with the harmony of nature and beauty of form, which sprang from the artist's subtle yet strong inner vitality.

Featuring 23 sets of works from the collections of Mrs Tong King-sum the Hong Kong Heritage Museum and Hong Kong Museum of Art , this exhibition aims to pay tribute to Tong King-sum, a well-respected forerunner whose achievements mirror those of local artists.

All Are Guests – Homecoming

Hong Kong Museum of Art, 10 Salisbury Road, Tsim Sha Tsui

 

The exhibition "All Are Guests" reveals complex and dynamic host-guest relationships through different media and features works by artists Leung Mee-ping, Chow Chun-fai, and the CoLAB x SLOW art group. The exhibition was very well-received in its participation in the Liverpool Biennial 2012 in the United Kingdom and Hong Kong Week 2013 in Taipei. The Museum brings this exhibition back to Hong Kong to share with local audiences the artists' creativity and achievements.

Leung Mee-ping focuses her lens on drifters roaming in several Asian cities and expresses her concerns about marginalised social groups while exploring the identity of urban visitors. Chow Chun-fai reconstructs official trailers about Hong Kong and ponders the expectations of local residents and travellers of a city. CoLAB x SLOW is a cross-disciplinary collaboration that intervenes in an art exhibition with "a social enterprise project", blurring the subject-object roles in the art world to provoke thoughts.

In traditional Chinese culture, plum blossoms, orchids, bamboos and chrysanthemums are known as 'The Four Gentlemen'. This analogy originated in the Wanli reign of the Ming dynasty, when the literati painter Chen Jiru inscribed on the Painting manual of plum blossom, bamboo, orchid and chrysanthemum. In the inscription, he claimed that appreciating and acquiring the characteristics of 'The Four Gentlemen' – the unyieldingness of plum blossoms, the aloof beauty of orchids, the modest and noble character of bamboos and the loftiness of chrysanthemums – can cleanse one's mind and add gracefulness to the personality.

Famous calligraphers, painters and literati like Tao Yuanming and Su Shi always employed the theme of plum blossoms, orchids, bamboos and chrysanthemums in their paintings and poems so as to glorify and pursue the noble character and sentiments of a gentleman. In traditional Chinese New Year, "The Four Gentlemen" were commonly used in folk culture for sending blessings. This exhibition has selected from the museum's collection over 70 pieces of works by calligraphers and painters from the Ming dynasty to modern period, including Xu Wei of the Ming dynasty, Zheng Xie of the Qing dynasty, as well as modern Chinese painters like Wu Changshuo and Zhang Daqian.

Donation of Works by Wu Guanzhong 2014

Hong Kong Museum of Art, 10 Salisbury Road, Tsim Sha Tsui

 

Dedicating his whole life to art, Wu Guanzhong selflessly donated his works to museums in the country and worldwide. The generosity of Wu had moved many. Over the years, he had donated his works to the Hong Kong Museum of Art for four times. Having inherited Wu's selfless spirit, his family again made a donation of 25 paintings to the Museum, which now holds a total of 77 pieces of Wu's works.

The 25 works, including 16 oil paintings and 9 ink paintings, were created from the 1990s to the early 21th century, a period known as the heyday of Wu Guanzhong's artistic journey. The Museum has selected some of the works for exhibition so that the public can have a taste of these precious gifts.

Great Minds Think Alike: 18th Century French and Chinese Furniture Design

Liang Yi Museum, 181-199 Hollywood Road, Sheung Wan

 

"Great Minds Think Alike" showcases for the very first time a juxtaposition between French and Chinese furniture from 17th and 18th century, from the palaces of Louis XIV, XV and XVI, and the courts of the emperors Kangxi and Qianlong, and displaying many of the design and craftsmanship similarities between them. How should these resemblances be interpreted? Is there such a thing as a universal aesthetic mindset? In this exhibit, visitors will experience a panoramic view through parallels display of furniture from two of the world's most fabled courts. (Appointments are required)