ten years of hong kong painting

More documents

Recommendations

Info

v Rosamond Brown, tt IIP Brian Tilbrook ^David Wiggs ^, ftilff1SB
TEN YEARS OF HONG KONG PAINTING Art and the development of art in a society is a barometer of the state and development of society as a whole. This has been true throughout history and is true for Hong Kong today. The economic and social development here of the last thirty years has been nothing short of phenomenal. With this economic and social development have come the work of local poets, writers, painters, photographers, dancers and film-makers who have grown up in Hong Kong and to whom Hong Kong is home. Cultural development has thus gone hand in hand with economic and social changes. Painting is one of the major artistic mediums adopted by Hong Kong artists. As with other art forms, the world of Hong Kong painters over the last ten years can tell us a great deal about the make-up of Hong Kong. The pluralistic nature of Hong Kong painting closely mirrors the diversity of the society at large. The East/West dialogue which is evident in post-war Hong Kong painting can also be found in almost every stratum of the community. The uniqueness of Hong Kong necessarily dictates the uniqueness of Hong Kong painting in particular. Michael Chen Galleries Director Hong Kong Arts Centre There really is no one prominent style or school of painting in Hong Kong. Whenever there is a strong movement calling for the formation of a 'Hong Kong School', there is an equally strong force resisting just such a move. And because of the unique historical and geographical contexts of Hong Kong, painting here has always been a curious mixture of the East and the West. In the same way as places such as Singapore or Taiwan, where the indigenous cultures have yet to exert a decisive influence, Hong Kong has always been subjected to the external pull of both China and the West. As such, a Hong Kong artist might want to identify himelf/herself as a Chinese artist (one who uses brush and ink to paint the traditional subject matter of landscape, flower and bird), or as a Western painter (one who not only uses oil or acrylic, but possesses a Western outlook in his/her art as well). In addition to the 'Chinese School' and 'Western School' of painters, there is an increasingly popular hybrid school which advocates a mixing of the two seemingly opposite streams of aesthetics. Despite the absence of a definitive mainstream, these affiliations have created currents and undercurrents which have made Hong Kong painting a diversified and lively scene.
Page 3: IF Jiisfiii 4> 'i> • JiS M ^ i if
Page 6 and 7: BJFH ttl ± W, P P P W * 1 ti st IJ
Page 10 and 11: Fleeing China in the late 1940s and
Page 12 and 13: there seems to be as many direction
Page 15 and 16: MESSAGE FROM THE SPONSOR It is a gr
Page 17 and 18: ACKNOWLEDGEMENTS The Ten Years of H
Page 20 and 21: ODD SONIA ARCHER Rosamond Brown Son
Page 24: GAYLORD CHAN MISf Gaylord Chan was
Page 75:
3 M
Page 107:
i.'i
show all

ten years of hong kong painting

Create successful ePaper yourself

Delete template?

Save as template?