HKBU History Department Newsletter (January 2024)

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Alumni sharing after the joint display at CUHK Chien Mu Library, talking about my issuing of journal articles on Chinese art-history researches after my MAFA graduation from CUHK

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C&G Art Department創辦人張嘉莉（Clara CHEUNG）於International Association of Art Critics Hong Kong發表了一篇名為《Reconstructing the Hong Kong cultural identity by reconnecting with history through art exhibitions and performative rituals (from the construction of the “Lo Ting” myth in 1997 to the revival of ritualistic practices in 2014)》的學術文章，旨在探討民間宗教鬼神習俗若放在畫廊空間內再現，能否有效地鼓勵觀賞者把傳統祭祀融入生活去重塑後殖民地時代的文化身份認同。Clara與浸大CVA校友蟻穎琳一樣，有按照中大文化研究系教授何慶基博士辦《盧亭神話》專題展的策展理念，以超現實主義的油畫手法，繪畫魚頭人的戲玩幻像，兌現洪席耶及Walter Benjamin主張敘事性創作及玩味的精神，道出一切歷史也是像神話般由管治者虛構的哲學迷思。 Clara認為《盧亭神話》此「偽民族志」旨在以visual artifacts兌現人類學考察重視的material culture，乃「關係美學」的一種，又被稱作「關係藝術」，是美術實踐上所呈現的一種模式或者趨勢，最早發現並提出者為法國藝術評論家Nicolas Bourriaud。Nicolas Bourriaud認為「關係美學」並非獨立的私人空間，而在理論或者實踐上從整體人類關係和社會背景發展的藝術實踐模式；這時藝術家應當被視為呈現關係美學的「催化劑」，而非整個藝術概念的中心。

The Myth of Lo Ting

VincentKwunLeungLee

曾泓峰於帖學上習「趙體」（小楷）及「王體」（行書），從而延伸「詩書畫印同源」之丹青筆墨修練，雖則浸大出身，但沒師承管偉邦重設計味之匠氣，反而赴中大藝術系醉心研究王無邪墨意上之率性，因此曾泓峰以宋元山水畫之臨摹為本（宋方面以習董源、李成之院體為主），勾股、皴擦、渲淡、潤筆上近似明代董其昌及清初四王之筆墨秀氣表現，花鳥上以二居及任伯年為仿傚對象；曾泓峰以扇面書畫最為突出，設色上不介意意筆重骨法得來，像萬青屴、李可染、張大千、陸小曼般有限度地「五色斑斕」。

Terence Tsang's Chinese art practices

VincentKwunLeungLee

BU History Newsletter (Mar 2023)

VincentKwunLeungLee

清代由內務府統領宮廷畫學，劃分「畫院處」畫人等次，滿洲人認為清初四王及吳歷之外，似是欠花鳥畫之權威人士作懷柔政策之漢化嚮導，乃不理其抗清家族之祖宗背景，委任「常熟畫派」之惲壽平展示院體工筆花卉如何勾勒及薰染，否則如沒有艷麗設色道統的話，清代畫學便會陷入元代文人畫「淡而無味」之隱逸筆墨困局。中國畫向來講求「雅俗共賞」，如花鳥畫「五色斑斕」得來過於媚俗，會像明代戴進一樣遭明代董其昌一類文人畫學理論家評為「匠畫」，因此「淡雅」、「典雅」、「脫俗」、「入俗」四者求中庸乃清代宮廷花鳥畫家難以取得平衡之處，因沒理由大量栽培徐渭一類沒色感的人才，唯觸是如「二居」般工筆得來盡量凝造「減筆畫」效果，以兌現謝赫《六法》「經營位置」之精神；又「隨類賦彩」得來玩「撞粉法」及「撞水法」，溝淡瓣及翎毛之淫氣。

Qing gongbi-floral paintings

VincentKwunLeungLee

陳惠立透過自學游泳及到港九新界各個康文署公眾泳池操水，與池內的游泳教練、泳手、救生員達成意向性的連結，當陳惠立以「意向基質」重塑各泳池的結構畫面之際，不論是繪畫或裝置，均赤裸裸地展現與這堆水男孩想有情慾上及兩小無猜式的純樸交流。林鄭月娥配合習近平「動態清零」之抗疫方針多番粗暴關閉泳池，影響水界及拯溺界之生計，政權及相關工會至今仍未肯跟進補償泳池業界收入損失的工作，陳惠立乃代入泳池使用持份者的角度去感受他們在關池後的寂寞感，例如想投入泳隊操練的小鮮肉失去了跟摰友們切磋的青春時光，職青泳客則失去了古銅肌膚浸在池水內與陽光玩遊戲的滋潤、與救生員對望的機會、窺探游泳教練執教的情趣，及於更衣室內洗澡時跟陌生泳客結交為「soulmates」的契機。陳惠立透過像Bronislaw Malinowski於1918年與Trobriand Islands的健錫土著共住的方法般，到各乾涸了的泳池作田野考察，牢記各項建築及室內設計的「公理系統」重塑泳池的烏托邦印象（異世界），當中帶有數據分析及歸納，以理性及共享元素展現意向感性，再配以人文關懷互動對概念創作賦予行為上的參與性，從而流露出對水男孩族群作「民族誌」式的憶念感懷與回憶。

Chan Wai Lap - awardee of HKADC Art Award

VincentKwunLeungLee

Kwai Hing studio - Triennial Report 2020-2022

VincentKwunLeungLee

新文化運動下魯迅借弘揚木刻版畫推美學改革，並不是旨在鞏固國民黨的共和民主及資本主義管治，反而激化陳獨秀及李大釗之左翼社會主義五四思想於工農階層遍地開花地萌生，令蔣介石政權欲推西方媒介藝術市場化及精英主義策展難上加難。魯迅先是認為抗日烈士及紅軍在戰火頻生及長征之亂世環境下，很難再以脆弱的宣紙絹本及畫學丹青弘揚社會主義思想，反而用木刻版畫方法，配以洪席耶「戲玩的幻像」之故事性人物構圖，以油墨大量複印在西方畫紙上，可在不同的農村及軍事據點以麻線大批懸掛畫作，向文盲階層進行文宣講述救國的最新情報。重版畫發展的魯迅對黃宮望《寫山水訣》之「三遠」境界表示不滿，認為作畫心境上過於「天人合一」及隠逸無法有效地展現出英雄人物革命的苦難實況，西方WALTER BENJAMIN一類故事性繪畫思維用於版畫上雖遺反董其昌《畫禪室隨筆》之筆墨典章制度，但起碼能達致入世的西方傳播學效果，快速地達致移風易俗之餘，亦能快速地把顧愷之「形神論」昇華至實用主義的全球化層次，不過畫國畫的石魯卻包容得到魯迅版畫發展上的「全盤西化」。

The New Cultural Movement and the printmaking art of Modern China

VincentKwunLeungLee

篆刻乃一門揉合道家陰陽學說之工藝雅興，雕鑿者須有修飾「籀文」的內涵及技巧，以刀痕展現側鋒、逆鋒、露鋒、藏鋒之骨法用筆，無論趙孟頫或柯九思均認為「篆隸」兩者修練乃密不分割，因篆隸具頗多中鋒元素，裝字上要當作方塊符號圖騰般兌現均秤章法，然而就算篆書多「會意」及「指事」筆劃也盡量要當作考察「象形」般在印石上構圖，方能做到「外師造化、中得心源」之再現功夫。陳鴻壽、吳昌碩、劉澤光博士之「閒章」均有「金石味」之意趣，「金石味」乃源於清代書家對「碑學」之鍾愛，如「墨塌」書風有如白文印及邊款之雕鑿手法，然而「金石味」須令篆字有殘缺美、古拙美、稜角及稚氣，有沙丁礙中鋒順暢也在所不辭，因其與「飛石」（砂筆）同出一轍；「金石味」旨在貶視過於幼細之工匠味道，因此肖形印乃最符合「金石味」沒有滑頭保有風骨之精神。

The Art of Chinese Seal-Engraving

VincentKwunLeungLee

The Kowloon Walled City Series is based on an interdisciplinary research on graphic art like experimental linear drawing, photography such as Greg Girard's documentation, Chinese calligraphic references such as Yan Zhengqing's stele scripts, the journal articles about anarchic urbanism, and the neo-figurative painting styles recommended by Prof. Lui Chun Kwong. The CUHK Fine Arts MAFA Graduation Show will be grandly opened at CUHK Art Museum on 10 July, Sunday. The Kowloon Walled City will be displayed by seperating two generalized streams as "Anarchic Urbanism" session and "Homecoming Dad" session, so that the visitors can perceive how I am eager to enjoy the nourishments of love within a pale mode of retreated livelihood. (* The images have been reduced due to the limitation of 5MB file size for file uploading, and this PDF is 2MB only in which all the texts remain unchanged.)

ITSC Cloud Version - Artist Statement_1007070165

VincentKwunLeungLee

FAAS5039 - Theoretical Text (Vincent KL LEE, 1007070165)

VincentKwunLeungLee

This was a group paper from Dr. Lo Kwai-cheong's Humanity course called "Chinese & Western Modes of Thoughts". The points from this paper were as similar as my recent avocations about the lack of love nourishments and a desire for becoming a Homecoming Dad. You can see that I could be that avant-garde in gender issues during my BUVA studies in Donald Tsang's administration era, in which I could enjoy a wet kiss with my ex-girlfriend at Kai Yip Estate after my VA lessons at Kai Tak Campus. Corresponding with the "Sumling Effect", I cannot control the drop of tears while reading this Humanity paper with a Distinction, as I have lost lots of stuffs from my sweetest BU memories due to the intransigent requests from my two secondary Alma-Maters and CUHK for my ability in becoming an "academic hegemony" at the expense of my creampie opportunities. Professor Alexander Wai Ping-kong is definitely a good BU principal, even performing better than Lui Ki-cheong and So Pui-ting judging from their boycott on my CUHK MAFA Graduation Show.

Humanity Paper - Forecast to Renewal of Chinese Sexual Perceptions

VincentKwunLeungLee

藝評家Boris Groys在《On the New》一文提及藝術館的功能首要是有如辦《香港藝術雙年展》般揀選內容及表現力具獨創性的藝術家及作品，並由藝術館賦予新的學界定意，他認為藝術館若過於提攜巴洛克藝術、印象主義、林布蘭、李鐵夫一類的古典寫實油畫，會變得與文物館或故宮無異；但如果愈是奢求做些突破藝術館框架的作品，愈是會令作品傾向生活化、社區化而多只是獲得收藏家上購買的層次，並未完全攀附得到藝術館的高端門檻，成為藝術館藏既要活得不圖短利般「超然」亦創作素材上要有「超越性」的原創成果。從本港例子來看，原則上沈平、江啟明、陳中樞、徐沛之、歐陽乃霑、蕭滋、陳海鷹一類傳統藝術家並不符合入藝術館參展的資格，他們會有如Boris Groys所述製造「侏羅紀公園」般的策展亂像，但當然香港人文化思維有別於西方尤重權威性人格及藝壇江湖地位，難以完全做到有如姜濤歌曲《作品的說話》的那種單純欣賞創意的境界；反而郭孟浩、陳惠立、朱興華、何善彤、陳作基、蟻詠琳一類「有學術功價得來仍首重作品意念不斷更新」的藝術家理應符合Boris Groys那套成為藝術館館藏的要求。至於管偉邦的新水墨，在Boris Groys角度來看過於著重「純粹性」，雖則能晉身藝術館，但其埋沒個人情感表現力的弊病卻是Walter Benjamin不喜悅的，因Walter Benjamin的「憶念感懷與回憶」學說乃重視說故事的創作文化。

Boris Groys - On the New

VincentKwunLeungLee

吳歷縱使人生大多數時間均在葡屬殖民地濠江內渡過，並透過信仰及宣教接觸西學，但山水墨意上仍堅持明代董其昌「松江派」之主張，以元四家、沈周、夏圭為臨摹基石，不受戴進吳派畫匠之風所影響，因此吳歷弘揚洋教得來其畫風仍被清廷歸納為與清初四王及惲壽平一樣是「正統畫派」；不過天主教信仰在避靜方面重「修道主義」，卻令吳歷構思「三遠」方面增添「隱逸思想」之意境。吳歷以「淺絳山水」最為出色，有參考仇英之金碧山水畫風作轉化功夫。

Wu Li's Catholic painting life in Macau

VincentKwunLeungLee

This is a piece of dissertation in Grade B+ level. I wrote this very general topic based on the elementary perspectives of literati painting, Chinese aesthetic spirits, Sinology, self-expressive painting, union between Heaven and Man, and coexistence between calligraphy and painting. I legitimately learn how to write a formal piece of Chinese art history research by quoting a large sum of convincing book references once I have made clear with lots of complicated concepts and knowledge that I haven't learnt during my Bachelor era. Now, I have adjusted the contents for my dissertation before the uploading based on the corrections from Dr. Lee Chi Kong: 關於你的論文，幾㸃意見謹奉參考。首先，文中有個最大謬誤，是多處將南宗與浙派混為一談。浙派崇尚南宋馬、夏，是董其昌所厭棄的風格。此外，論文第一段舉藍瑛為例亦不太妥當，因為被畫史譽為浙派殿軍的藍瑛，比董其昌小三十歲，屬後輩，董其昌成名時藍瑛尚未成氣候。畫風固不入董眼，但亦不足為其掛齒。其次為錯別字，「黃公望」多處誤作「黃宮望」。其他如：翰林圖畫院（頁1）皆從董、巨得來（頁1，注1）折釵股（頁1，注3）乾淡（頁5，兩處）致虛守靜（頁6）淡彩赭石（頁6）滃鬱恍惚（頁7）幼獅文化（頁10，注26）米萬鍾（頁10，注32）以余所見（頁13，注37）

FAA5302 - 明董其昌南宗山水筆墨意趣研究（李冠良．1007070165）

VincentKwunLeungLee

The final two pieces of my "Kowloon Walled City Series" have been fruitfully finished. For the last piece, I employed a lifeguard colleague to serve as my nude model. The whole experimentation began with pencil-drawing session of 1.5 hours for each piece, and I created two drawings based on the model. Then, the second part was a formal life description of the lifeguard model onto the 48" x 36" canvas, and the long pose lasted for one hour. After this Final Presentation, there will be still an "Oral Examination" at CUHK Art Museum before the grand opening ceremony of the CUHK Fine Arts MAFA Graduation Show.

Lukas - Final Presentation

VincentKwunLeungLee

This is a required proposal for submitting to CUHK Art Museum. An evaluation is conducted by CUHK Art Museum concerning the location of exhibits, sizes of exhibits, light effects and creative mediums. My Graduation Project is actually nine pieces of Western paintings, and there is nothing complicated for the technicians at CUHK Art Museum to specifically render. My paintings will be exhibited on the 2nd Floor, which will be the exhibition panels near the entrance of CUHK Art Museum Administration Office. This location has ever been selected by the Western-painting graduate from the MAFA Year 2 class last year.

Individual Artwork Proposal

VincentKwunLeungLee

「照相寫實主義」與「超現實主義」有點相似，同樣地是跟現代藝術思潮的主流畫派的「後印象主義」及「表現主義」構成很大的理念矛盾，前兩者重空間感、細緻性、邏輯構圖，後兩者則重直覺表達、ugly aesthetics及grostequeness。卓有瑞女士的「照相寫實主義」，八成比重是重理性畫面，但也保留兩成比重是展現中國文人畫的「大氣磅礡之氣」，如她的《山之系列》、《雲之系列》、《水漬系列》流露元代黃公望《寫山水訣》中「山有三遠」論述之精神 — 平遠、闊遠、高遠，也流露宋代米芾、米友仁「渲淡」之意境；所以卓有瑞女士的西畫，不只是紐約、台灣的當代藝術策展人會喜愛，就連本港親中派藝壇人士及畫會派（文樓、蕭滋、林明琛、陳中樞一類傳統藝術人士）也給予卓有瑞女士畫作好評，不論是《大紀元》、《大公報》或《文匯報》也肯專訪她創作的意念。西方藝術教育往往是「靜物寫生」比「風景寫生」為重要，如本港舊制會考及高考美術，港英政府只規定考生須考「靜物素描」、「人體素描」、「以視覺形式表達主題」、「設計」、「中國書法」及「西洋書法」，卻不用考生應考「風景寫生」，歐洲美術學院重「靜物」情況也是如此；而中大藝術系素描基礎課中，呂振光教授作為「中大西畫教育鼻祖」向來只要求一年級學生在新亞誠明三樓西畫工作室內設置石豪像、蔬果、花瓶來打燈去「實對」作畫，並沒有硬性規定要他們在「天人合一」湖等新亞校園自然環境下寫生；因此，卓有瑞女士初進環球藝壇所攻之成名佳作，乃屬「靜物」之《香蕉系列》，風景畫方面則往後抵港居住在火炭浸大教職員宿舍及租用火炭工廈工作室後才發展及著力推廣《山之系列》、《雲之系列》、《水漬系列》及《地影系列》的創作，可見她有如梁光耀博士所述認為香蕉一類「靜物」屬「雕塑」範疇乃兌現「藝術美」，而風景畫只能兌現「純粹美」及「自然美」；卓有瑞女士於浸大視覺藝術院作育英材之理念絕對地有別於江啟明、沈平、劉永富、歐陽乃霑一類「畫會派」寫生畫家。

Ms. Cho Yeou-jui - Photorealism

VincentKwunLeungLee

This academic talk was conducted by a scholar from the United States called Prof. Peter Sturman. He is from the University of California, and he is an expert in Chinese art conoisseurship. His talk was about Su Shi's literati painting. Due to the Zoom operation of the talk, we did not need to travel to the US for exchanging with this prominent American scholar and we could still obtain international recognition for our academic efforts in Sino-Western cultural communications by just staying at home in Hong Kong. I have contributed a piece of alumni sharing to the HKBU History Department Newsletter this month for talking about Prof. Peter Sturman's academic talk.

BU-HIST Dept Newsletter (Apr 2022)

VincentKwunLeungLee

明代朱謀垔《畫史會要》提到宋代科舉進士投考《翰林圖畫院》欲做待詔之際，所作答之畫學試題並非清一式考核皴擦「院體」山水，還須結合工筆人物的故事構成，因此蘇漢臣、劉松年、李公麟一類宋代人物畫家，需參詳隋唐兩代兌現東晉顧愷之「以形寫神」的成功畫學例子。東晉時不論是謝赫《六法》或顧愷之「形神論」，均不是完全地旨在指引如何皴出意筆之山水意境，反而是多談及如何不重比例但有趣咪地繪出工筆人物；畫山水的論述更專業的卻有魏晉南朝宋代宗炳《山水論》、五代後梁荊浩《筆法記》、北宋郭熙《林泉高致．山水訓》及元代黃宮望《寫山水訣》。蘇漢臣的戲嬰圖系列乃「暖男爸爸」們鍾愛之題材。

Baby paintings by Su Hanchen

VincentKwunLeungLee

The first six pieces of paintings were done based on an approval after a presentation to Celia Tinyan KO, and they are the cored pieces for conveying my research ideas of "Kowloon Walled City Series". After a completion of these six pieces, I then move on to develop three pieces based on Prof. Lui Chun-kwong's ideal. He has cited Leon Golub and Richard Artschwager for my creative references. Indeed, Prof. Lui wants something very precised with a very professional vision. He asks me to simplify all the compositions and chrominances in which "autofigurative sentiments" is a prior concern of understanding and expressing my ideal subject matters.

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Narratives, Appropriation, Borrowing and Ownership of Art It’s a kind of visual art that tells or narrates stories that are done mostly through painting, sculpture which are considered as the most common classical art forms. The Great Black Bull of Lascaux Cave Some works of art were once used by greedy rulers to “maintain the power of ruling class, to instruct and articulate the masses, but also to inform the future generations” “The story and the art itself changes depending on who is looking at it” It is also important to know that narrative art was not only limited to history painting. It is an attempt to interpret what is chronicled in the Four Gospels of the New Testament. Most of us are aware what on the night when Jesus and his disciples gathered for a meal;

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