CAH 4514 Project. In the mood of ink:

Transcription

1 CAH 4514 Project In the mood of ink: How the City Art Gallery shaped our perception of New Ink art as the mainstream Hong Kong Art from the late sixties to early seventies and its political connotations Chan Wing Hang Michael ( ) Law Kam Ho Richard Charles ( ) Lee Pak Ka Sophia ( ) Under the supervision of: Dr. Chan, Pedith

2 Acknowledgements The first and most important debts of gratitude must go to our esteemed project supervisor, Dr. Chan, whose guidance and kind support were essential to the completion of this project. We are very grateful for her generosity and patience (or it would be more correct to say tolerance ) to our not-quite-strictly-followed work schedule. We would also like to express our gratitude to Dr. Lee, Vivian, Dr. Kwon, Hyuk-chan, Dr. Wong, Marianne and Mr. Ocón Fernández, David for their comments and questions after our oral presentation.

3 Content Introduction... 1 Chapter 1: Overview Hong Kong Art in the Sixties... 6 From City Art Gallery to the Museum of Art... 9 Lui Shou-kwan & the New Ink Movement Wucius Wong & the Art Gallery Chapter 2: Analysis of Exhibitions from 1967 to 1974 Analysis Overview Analysis of Exhibitions Findings Chapter 3: Political Connotations for the Emergence of New Ink Art in the Sixties & Seventies Review of the Power of Museums Socio-political context of HK (Sixties to Seventies)... 54

4 Colonial Government s Policy Change Following the 67 Riot City Art Gallery and Hong Kong Art New Ink Art & Hong-Kong-ness Conclusion Bibliography Appendix... 82

5 Introduction M+ Museum is part of Hong Kong s latest and largest cultural project, the West Kowloon Cultural District. As a museum that is focused on twentieth to twenty-first century visual culture, encompassing the disciplines of visual art, design and architecture, and moving image from Hong Kong, China, other regions of Asia and the rest of the world, 1 Hong Kong s New Ink artworks from the late sixties and early seventies would surely form quite a significant part of the collection to represent Hong Kong art of the period. One wonders if the City Art Gallery, the predecessor of the Hong Kong Museum of Art and the only official art museum in the city at the time, helped shape this perception New Ink art [ 新水墨 ] as the mainstream Hong Kong art through its exhibitions and whether this could this be anyhow related to Wucius Wong s [ 王無邪 ] position as Assistant Curator from 1967 to 1974 at the institution, who was also a New Ink artist trained by Lui Shou-kwan [ 呂壽琨 ]. The Art Gallery division of the City Museum and Art Gallery is the main focus of this study and shall be hereinafter referred to as City Art Gallery or the Art Gallery. This study intends to find out if the City Art Gallery was selectively promoting the New Ink Movement during the period of 1967 to 1974 and thuus contributed to the impression that New Ink art is the mainstream Hong Kong art in the sixties and seventies. 1 Learn About the Collection, West Kwoloon Cultural District, Accessed May 13,

6 Sociological studies have proposed that museums have the power to legitimise the interest of dominant social classes by justifying their tastes and limiting the public s access to the superior items owned by members of the higher social class; 2 and that displays in museums could not just change the public s perception of a certain art school or art movement by attributing political and cultural values to the works through exhibition and acquisition, 3 but also, through different display tactics and preferential treatment, influence the shaping of a community s political identity and demonstrate state power. 4 Although the primary subject of study of this project is Hong Kong art in the late sixties and early seventies, this study differs from the standard study of art history with reference to artist biographies but adopts a sociological approach to look at the emergence of Hong Kong s New Ink Movement through gathering and analysing empirical data of exhibitions at the City Art Gallery and examining the socio-political context at the time. The first chapter of this paper presents an overview of the Hong Kong art scene in the sixties, a brief history of the City Art Gallery, followed by a short introduction to Lui Shoukwan and his New Ink Movement and lastly Wucius Wong and his duties at the institution in based on Government documents accessed at the Public Records Office and his own account. Publications by art historians such as Petra Hinterthür, David Clarke and Zhu Qi 2 Paul J. DiMaggio, Cultural entrepreneurship in nineteenth-century. Boston: the creation of an organizational base for high culture in America, Media, Culture and Society 4, no.1, (1982): Gergor Langfeld, How the Museum of Modern Art in New York Canonised German Expressionism, Journal of Art Historiography 11, (Dec 2014): Tony Bennett, The Birth of the Museum: History, Theory, Politics, (London: Routledge, 1995).; Carol Duncan, Civilizing Rituals: Inside Public Art Museums, (London: Routledge, 1995).; and Timothy W Luke, Museum Politics: Power Plays at the Exhibition, (Minneapolis: University of Minnesota Press, 2002) are some of the more comprehensive studies on the topic. 2

7 [ 朱琦 ] are some of the more comprehensive writings on the history of Hong Kong art and they were reviewed for some of the more conventional views on the development of Hong Kong art in the sixties and seventies. Exhibition catalogues from the period were also examined for the purpose of understanding how Lui, Wong and New Ink art in general were received. This study focuses on Wucius Wong rather than Lui Shou-kwan, who was one of the Gallery s advisers and seemed to have commanded more influence on the City Art Gallery s policies on exhibition and collection than Wong. Despite the great prestige that was associated with the title of adviser, advisers did not exercise actual power on exhibition-making and acquisition. In a restricted memorandum entitled Appointment of Advisers and Honourary Curators, it was proposed that [advisers] may be asked to advise on the purchase of Art Gallery and Museum material, equipment and supplies, in the identification and preparation of exhibits, and the production of catalogues and publications. 5 Yet Wucius Wong, as the Assistant Curator at the City Art Gallery, had actual administrative power on exhibition-making and collection, so the main focus of this paper is the City Art Gallery during the Wucius Wong years ( ). The second chapter concerns Hong Kong art exhibitions organised by the City Art Gallery during the time when Wucius Wong was the Assistant Curator. To find out if the City Art Gallery did present an image that the local art scene was dominated by New Ink 5 Committee Paper 17/4/62 3

8 artists in its exhibitions, proportion of New Ink artists at each local art exhibition and how they were described in the exhibition catalogue were analysed. In order to prove that Wong did contribute to the elevation of New Ink art s status, exhibitions that preceded and succeeded the period when he was the Assistant Curator were also considered. It is natural to presume that Wucius Wong, a New Ink artist himself, because of his personal preference and his affiliation with artists and art groups that practiced New Ink art style, would naturally have, whether consciously or unconsciously, exerted his influence at the City Art Gallery as Assistant Curator over exhibition selection to favour his fellow New Ink artists. One expects after analysing the local art exhibitions, the result would demonstrate that the City Art Gallery was more inclined to showcase New Ink artists during the years of , when Wucius Wong was in power at the Art Gallery. The third chapter of this paper concerns the political significance of this particular art style and argues that the City Art Gallery gave official recognition to Lui Shou-kwan and Wucius Wong s New Ink Movement instead of the traditional guohua [ 國畫 ], Chinese national painting, societies or the Lingnan School [ 嶺南畫派 ] prevalent at the time to promote a certain artistic identity for the Colony for the interest of the Colonial Government, particularly after the Leftist Riot in Since the height of this art movement s development coincided with the Colonial Government s localisation policy as 6 This point was raised by Cheung Wai-yee 張惠儀. The third chapter of this paper explores deeper into the issue by examining the relation between New Ink art and Hong Kong s identity propagated by the Colonial Government in the late sixties. Please see Cheung Wai-yee 張惠儀, Xiang gang shu hua tuan ti yan jiu 香港書畫團體研究 (A Study on Art Societies in Hong Kong), (Hong Kong: The Chinese University of Hong Kong, 1999), 93. 4

9 well as Wucius Wong s employment by the Art Gallery, one doubts if the promotion of New Ink art may have been part of the Colonial Government s plan to promote a local sense of community identity. Writings by Cheung Wai-yee [ 張惠儀 ], Chin Win [ 陳雲 ], Christina Chu [ 朱錦鸞 ], David Clarke, Eva Man [ 文潔華 ], Frank Vigneron, John Carroll, Lee Chun-yi [ 李君毅 ], Matthew Turner and several articles by Wucius Wong were studied. 5

10 Chapter 1: Overview Hong Kong Art in the Sixties Most publications on the history of Hong Kong art tell of the story that modern Hong Kong art emerged in the late fifties, continued to develop in the sixties, and reached its blossoming in the seventies. As Eva Man, in her paper Experimental Painting and Painting Theories in Colonial Hong Kong ( ): Reflections on Cultural Identity, declares, The mid-sixties [ ] marked the beginning of Hong Kong art and the New Ink Movement in the Colony gave rise to Hong Kong Painting, which aimed at the founding of local artistic identity. 7 Eva Man is not the first to equal Hong Kong art with New Ink art, early art historians such as Petra Hinterthür had similar ideas. Hinterthür s book Modern Art in Hong Kong is the first English publication on the topic and according to Hinterthür, New Ink artists and their art groups such as the Circle Group [ 中元畫會 ], In Tao Art Association [ 元道畫會 ] and One Art Group [ 一畫會 ] represented the New Spirit of modern art in Hong Kong. 8 There is even one entire section devoted to introducing Wucius Wong and his influence to the development of the New Spirit. Zhu Qi shares Hinterthür s vision and classifies, in his book History of Hong Kong Fine Art, the period of the late fifties to sixties in the history of Hong Kong art A Period of the Spread of Modernism [ 現代主義傳播 7 Man Kit Wah, Eva, Experimental Painting and Painting Theories in Colonial Hong Kong ( ): Reflection on Cultural Identity, Filozofski vestnik 17, no. 2 (Feb 1997): Petra Hinterthür, Modern Art in Hong Kong: Asian Art Library, (Hong Kong: Meyer Pub, 1985),

11 期 ]. 9 In the introduction to the chapter Zhu writes Hong Kong s modern art forces appears in the late fifties, and Hong Kong Artist Association, [ 香港藝術家協會 ] led by key figures such as Douglas Bland, Lui Shou-kwan and Kwong Yeu-ting [ 鄺耀鼎 ], was the first wave of forces modernising Hong Kong art, which is followed by the second wave of modernising forces, the Modern Literature and Art Association [ 現代文學美術協會 ] founded by Wucius Wong, Yip Wai-lim [ 葉維廉 ] and Kwan Namm [ 崑南 ]. The third wave was initiated by the set-up of the The Circle Group in 1964, which Zhu calls a milestone in the development of modern Hong Kong art. 10 A fairly recent publication on the same topic, An Anthology of Visual Arts: Visual Arts of Hong Kong and Creative Era, reports a more or less similar story: the period from the sixties to the nineties is described in the book as a period of blossoming [ 百花齊放 ], characterised by waves of emergence of art groups and societies, such as the In Tao Art Association in the late sixties and the One Art Group in the early seventies. 11 These groups, as Lam Suet-hung [ 林雪虹 ] points out, under the promotion of official cultural institutions, they precipitated a Modern Ink painting movement, thus becoming the mainstream and the Movement was the brightest throughout the sixties and seventies Zhu Qi 朱琦, Xiang gang mei shu shi 香港美術史 (History of Hong Kong Fine Art), (Hong Kong: Joint Publishing 三聯書局, 2005), Ibid. 11 Lam Suet-hung 林雪虹, Shi yi wen ji: Xiang gang shi jue yi shu yu chuang yi shi dai 視藝文集 : 香港視覺藝術與創意時代 (An Anthology of Visual Arts: Visual Arts of Hong Kong and Creative Era). (Hong Kong: MGuru, 2008), Ibid., 30. 7

12 David Clarke, on the other hand, looks at the artworks done at the time from a different perspective. He uses the term hybrid to describe these artists work, and attributes the reason for this hybridity a result of Hong Kong artists being caught between Western modernist and Chinese traditionalist culture narrative. 13 He later goes on to talk about Wucius Wong and Lui Shou-kwan, two of the important figures from the New Ink Movement, who were creating consciously modernist art that combined Chinese and Euro-American ideas. 14 Clarke points out New Ink artists made use of Chinese materials to position themselves as a continuation of the Chinese ink painting tradition whereas at the same time they tried to downplay their adhesion to traditions by employing stylistic devices derived from Abstract Expressionism and European gestural abstraction. 15 After reviewing these publications one would have a vague idea that the history of modern Hong Kong art began in the sixties, as exemplified by the emergence of the New Ink Movement, a group of artists who were consciously distancing themselves from traditional Chinese art and inventing a modern pathway of its own by drawing on references to modernist art movements in Europe and America. These artists formed art groups and societies that propelled the development of New Ink art, giving rise to a Hong Kong art style. Few of these authors (with the exception of Man), however, mentioned in details the role played by the City Art Gallery in the establishment of this local artistic 13 David Clarke, Varieties of Cultural Hybridity: Hong Kong Art in the Late Colonial Era, Public Culture 9, no. 3 (1997): Ibid David Clarke, Hong Kongness, Chineseness and modernity: issues of identity in Hong Kong art. Hong Kong Cultural Studies Bulletin 4, (1995): 82. 8

13 identity other than that the new City Hall provided exhibition venue for local artists to showcase their works. From City Art Gallery to the Museum of Art For a long time in the fifties, St. John s Cathedral in Central was the only available exhibiting venue for local artists in Hong Kong. 16 The situation improved slightly with the arrival of foreign organisations such as the Goethe-Institut, Alliance Française, American Library, and Bank of America. 17 As early as 1952 it was suggested in a Museum Sub- Committee Paper that the existing exhibiting space and storage space at the City Hall were inadequate and there was a need for a new venue for exhibition and storage double the size of the existing facilities. 18 The new City Hall began construction in 1960 and by 1962 it was completed and housed the City Hall Museum and Art Gallery, the city s first official museum. 19 The institution was comprised of the City Hall Museum, a museum on local history and ethnography, and the City Art Gallery, the only official art exhibiting venue in the Colony at the time. The design of the City Hall was to be a symbolic focus [ ] to draw together the people of Hong Kong into an integrated community, and a Hong Kong citizenship 16 Recounted by Wucius Wong, please see Zhang Yue-zhong 張月忠 ed, Wang wu xie ji 王無邪集 (Collection of Essays by Wucius Wong), (Guangzhou: Flower City Publishing 花城出版, 2014), Ibid. 18 See Memorandum for Members of Museum and Art Gallery Sub-Committee of the City Hall (Policy) Select Committee, Committee Paper 17/17/62, p.1. Also see Committee Minutes 12/2/62. Paras About the Museum, Hong Kong Museum of Art, Accessed May 13, 2015, 9

14 based on loyalty to the local community and characterised by a fusion of European and Chinese traditions. 20 At a time when there were few official exhibiting spaces in the city, the City Hall Museum and Art Gallery at the newly built City Hall was a most welcoming sight to local artists. It was suggested that local artistic effort should also be encouraged by regular exhibitions, competitions, projects and commissions, etc. 21 The City Hall soon became one of the key outlets for local artists to showcase their works. As a matter of fact in its first year of operation the institution organised the exhibition Hong Kong Art Today [ 今日的香港藝術 ], displaying works done by contemporary Hong Kong artists. At a time when there was an absence of venues even for the display of art, the City Art Gallery naturally assumed the leading and authoritative role in setting artistic standard by deciding who and what was worthy enough to be displayed to public. The issue with the lack of exhibition and storage space was later referred to the Government. In a 1965 committee paper the Colonial Secretary assured members of the Museum and Art Gallery Select Committee the Colonial Government accepted as a matter of policy that it is desirable to have a rather larger Museum and Art Gallery than can be accommodated in the City Hall and consequently it was agreed expansion outside the City Hall may proceed. 22 The institution was renamed the City Museum and Art Gallery in 1969 to emphasis its city-based status. 23 The City Museum and Art Gallery was separated 20 Hong Kong City Hall, : twenty years in retrospect 香港大會堂, : 回顧二十年, Hong Kong: Urban Council, 1983, preface. 21 Committee paper 17/6/62 22 Committee paper MAG/5/65 23 Tam, Mei-Yee 譚美兒 ed, Xiang gang Yi shu: Kai fang dui hua zhan lan xi lie nian du te kan 香港 10

15 into the Museum of History and the Museum of Art in 1975, the former moved whilst the latter stayed in the City Hall until the construction of the present Museum of Art in Tsim Sha Tsui was completed in Lui Shou-kwan & the New Ink Movement Lui Shou-kwan s father was a traditional painter in Guangdong and Lui Shou-kwan must have seen a lot of classical Chinese paintings since his youth, therefore it is rather unsurprising that Lui painted traditional Chinese paintings in the earlier years of his artistic career. 25 He moved to Hong Kong in 1948 possibly to escape the civil war and the Communist party s rapidly expanding influence in Southern China. He continued to pursue his passion in art at his leisure time and participated in exhibitions from time to time. In 1954 he joined the Hong Kong Art Society [ 香港美術會 ], and two years later he was one of the founding members and the honourary adviser of the Hong Kong Chinese Art Society [ 香港中國美術會 ] with famous Chinese painters such as Chao Shao-an [ 趙少昂 ], a follower of the Lingnan School, and Li Yan-shan [ 李研山 ], a renowned guohua painter. 26 It was also in that year he published his Study on Guohua [ 國畫的研究 ], where he outlines the basic principles of traditional Chinese painting. He also co-founded the Hong Kong 藝術 : 開放. 對話展覽系列 特刊 (Hong Kong Art: Open Dialogue Exhibition Series A Launching Publication), (Hong Kong: Hong Kong Museum of Art, 2008), Man Kit-Wah, Eva, A Museum of Hybridity: The History of the Display of Art in the Public Museum of Hong Kong, and Its Implications for Cultural Identities, Visual Anthropology 24, no. 1-2 (2011): 92. Also see Tam, Hong Kong Art, Flora K. Chan 陳鳳姬 ed., Chronology of Lui Shou-kwan, in Hong Kong in Ink Moods: Landscape Painting by Lui Shou-kwan, (Hong Kong: Fung Ping Shan Museum, the University of Hong Kong, 1985), Ibid. 11

16 Artist Association in 1955 with Kwong Yeu-ting and Douglas Bland, two very prominent artists in Hong Kong at the time. 27 By the late fifties and early sixties Lui sought to modernise traditional Chinese art and emphasised the importance of learning from traditions and of returning to one s root based on ancient Confucian teachings before pursuing any new forms of painting. 28 In the catalogue to his 1964 solo exhibition Lui was described as not imitating the work of American action painters but rediscovering the abstract and expressionist elements of early Chinese painting. 29 He proposed the concept of shui-mo [ 水墨 ], ink, an idea first formulated by Wang Wei [ 王維 ], an artist from the Tang Dynasty. His New Ink experiment aimed to be a continuation of the modern ink experiment initiated by earlier Chinese artists such as Fu Bao-shi [ 傅抱石 ], Xu Bei-hong [ 徐悲鴻 ] and Lin Fengmian [ 林風眠 ]. The idea of ink focuses on the reflection of the artist s inner spiritual self more than physical representation, thus ink has evolved in recent decades to include a much wider range of work produced in different media such as performance and installation. John Warner, who served at the City Hall Museum and Art Gallery as the Head Curator, was greatly impressed by Douglas Bland and Lui Shou-kwan s works when he first arrived in Hong Kong. 30 He later became acquainted with Lui Shou-kwan and Wucius Wong and was introduced to Lui s idea of revolutionising traditional Chinese ink and 27 Ibid. 28 Lui Shou-kwan, Shui mo hua jiang 水墨畫講 (Ink Painting Lecture), (Hong Kong: Lui Shou-kwan, 1972), Lui Shou-kwan 呂壽琨近作展, (Hong Kong: City Museum and Art Gallery, 1964), Tam, Hong Kong Art,

17 became an admirer of Lui. 31 As soon as the Museum opened in 1962 Warner organised the Hong Kong Art Today exhibition, showcasing works by contemporary Hong Kong artists at the time. Artists active in the scene at the time such as Lui Shou-kwan, Wucius Wong, Cheung Yee [ 張義 ] and Kam Ka-lun [ 金嘉倫 ] were all included in the exhibition. 32 The exhibition was a controversial one as works by prestigious traditional Chinese painters and calligraphers were not included in the exhibition. 33 In the same year Lui was recommended by Warner to become one of the advisers to the Museum, and according to the Committee Paper 17/36/62 the panel of advisers would advise the Museum and Art Gallery Sub- Committee on the planning and development of the Museum and Art Gallery and advise the Sub-Committee on the purchase and acquisition of Museum and Art Gallery collections, 34 this had no doubt given Lui great prestige and influence in the art scene. Lui s status was further consolidated when he was selected to be one of the eight Hong Kong artists to be featured at the Commonwealth Art Today exhibition in London. 35 By the late sixties and early seventies Lui s New Ink Movement reached its height. In 1966, Lui began to teach painting at University of Hong Kong s Faculty of Architecture. He also offered Ink Painting courses at the Department of Extra-mural Studies of the Chinese University of Hong Kong to train art students and spread his New Ink idea. Two years later his students at the Extra-mural Studies of the Chinese University organised the 31 Ibid. 32 Ibid., Ibid. 34 Committee Paper 17/36/62 35 Committee paper 17/11/62 13

18 In Tao Art Association and had their first joint exhibition. Some of the more famous members of the group included Laurence Tam [ 譚志成 ], who later became the first curator to the Museum of Art in 1991, and Irene Chou [ 周綠雲 ]. In 1970, exactly two years later, this time another group of students from the Extra-mural Studies from the Chinese University held a Traditional Chinese Painting Exhibition [ 中國傳統畫展 ] and set up the One Art Group, Lui Shoukwan, Laurence Tam and Wucius Wong were invited to become advisers to the art group. Lui s students, similar to Lui, also advocated the importance of a return to traditions. In the catalogue of the 1971 exhibition Chinese Ink Paintings, it explains new ink painting as a school of painting which [ ] has absorbed a considerable number of means of expression from the West, thus forming a new tradition of its own, and it was attempting to combine elements from both Chinese and Western painting 36. Li Chu-tsing [ 李鑄晉 ], in his short article in the catalogue, calls New Ink painting a new tradition and he praises New Ink painters of making a noble and worthwhile attempt to grasp the essence of modern life and thought as the basis for [their] own creations by accepting the spiritual heritage of different cultures, and that New Ink artists represent the most innovative arm of modern Chinese painting. 37 Mid-seventies were seen by most art historians as the moment when the Movement began to decline Wucius Wong left the City Art Gallery in 1974 and Lui Shou-kwan died in Despite that, Lui s students and the New Ink Movement continued to be very 36 Chinese Ink Painting 中國水墨畫大展, (Unknown: Chinese Ink Committee, 1972), introduction. 37 Li Chu-tsing, The Emergence of a New Tradition, in Chinese Ink Painting 中國水墨畫大展, (Unknown: Chinese Ink Committee, 1972). 14

19 influential in the art scene throughout the seventies until a new generation of artists overtook their popularity. Wucius Wong & the Art Gallery Wucius Wong was Lui s most successful student and he later became one of the key advocates of Lui s New Ink Movement. Wong was born in China, grew up in Hong Kong and studied in the United States. It was in the United States where he absorbed most of the Western culture. He tried to practice Western style painting 38 but soon realised he could never fully follow the Western traditions without sacrificing his individuality. 39 Wong felt entrapped between the Western modernist narrative and the Chinese traditionalist narrative, and neither could he claim master to. A Chinese painter who was endeavouring to invent a new modern version of national painting, Lui Shou-kwan, caught Wong s attention. Wong first noticed Lui s works in an exhibition organised by the Hong Kong Artist Association in In the October of 1958 Wong visited Lui s studio and became one of his students. 41 It was also in the same year when Wong founded the Modern Literature and Art Association [ 現代文學 38 Wong often generalised Euro-American art styles as xihua [ 西畫 ]. In a foreword he wrote for his own retrospective exhibition at the Museum of Art in 2006, (see anthology pp ) Wong recounted his artistic career and art training in the U.S. It is likely this Western style painting he often mentions in his essays refer to modern American art style, in particularly Abstract Expressionism and Gesturalism. 39 At the East-West crosswords The Art of Wucius Wong 東西問道 : 王無邪的藝術, (Hong Kong: Hong Kong Museum of Art, 2006), Zhang, Collection of Essays by Wucius Wong, Paintings, Drawings and Prints by Wucius Wong 王無邪 : 繪畫 素描 版畫展, (Hong Kong: Hong Kong Museum of Art, 1979), 2. 15

20 美術協會 ] with leading figures in the arts and cultural scene at the time such as Lui Shoukwan, Cheung Yee, Kam Ka-lun, Van Lau [ 文樓 ], Hon Chi-fun [ 韓志勳 ] and Liu Kuosung [ 劉國松 ]. 42 Wong learnt from Lui the traditions of Chinese painting and his idea of modernising traditional Chinese art with a return to root. He believed that the only way forward for Hong Kong artists, was an acknowledgement and review of their own Eastern identity, or Chinese cultural foundation. In his view, only after artists recognised what their true root is can they begin to invent a path of their own, free of the constraint of following either narrative. 43 His writing on Hong Kong art will be explored more in detail in the final chapter. When Warner met Lui Shou-kwan he also became acquainted with Wucius Wong, whom Warner praised a highly intelligent and gifted artist. 44 When David Lam [ 林鎮輝 ], one of the Museum Assistants, resigned in 1965, Warner encouraged Wucius Wong to apply for the vacancy. 45 Yet because the Government did not recognise American degrees at the time Wong was not recruited then. Two years later in 1967 the Museum posted for a Class I Assistant Curator, this time Wong applied and was hired. An appendix to a 1965 document titled Museum Organisation and Staff Structure outlines the basic museum staff structure offers some insights on Wucius Wong s duties at the Art Gallery. 42 Cheung, A Study on Art Societies in Hong Kong, For more details of Wong s thoughts please see a 1972 article written by Wong himself, titled 香港現代水墨畫, in Zhang, Collection of Essays by Wucius Wong, Tam, Hong Kong Art, Interview: Wucius Wong, Asian Art Archive. Accessed May 13,

21 This diagram is made based on the original diagram from the appendix to a 1965 document Another appendix to the document details the duties of Class I Assistant Curator of the Art Gallery section. The Assistant Curator was responsible for the direct organisation of the Art Gallery (Chinese Fine Art, Decorative Art and Antiquities and Local art). 46 Two years later in a document on Staff reduction a similar structure was shown. It is very likely that was the official staff structure of the City Museum and Art Gallery when Wucius Wong was recruited. 46 Para. 131 of the Appendix C of the document. 17

22 This diagram is made based on the original diagram from the appendix to a 1967 document Wong recounts his duties at the Art Gallery included various areas such as Hong Kong art, modern art, exhibition planning, design, public relations and educational services in an article The City Museum and Art Gallery and Me he wrote for the Hong Kong Art: Open Dialogue Exhibition Series , he also points out exhibitions related to Hong Kong art with my direct involvement included the Hong Kong Art Exhibition as part of the Music and Fine Arts Festival in 1967, the Circle Art Group Exhibition in 1968, Contemporary Prints by Chinese Artists in 1973, and Contemporary Hong Kong Art Exhibitions in 1969, 1972 and The 1974 exhibition Wong refers to later became the Hong Kong Art Biennial Exhibition in Tam, Hong Kong Art, Ibid. 18

23 The second chapter turns to investigate if the common view of Hong Kong art in the sixties as dominated by New Ink art could have been the result of the City Art Gallery s preference of selecting New Ink artists in its Hong Kong art exhibitions, which may in turn be related to Wucius Wong s personal affiliation with the New Ink movement and their art groups. 19

24 Chapter 2: Analysis of Exhibitions from 1967 to 1974 Analysis Overview During the period of 1967 to 1974 when Wucius Wong was the Assistant Curator at the City Art Gallery, a total amount of 90 exhibitions with a wide variety of themes were mounted. For the purpose of current study, only those exhibitions directly related to Hong Kong art were considered. Of all the exhibitions the City Art Gallery held over the period of , five that were greatly related to Hong Kong art were singled out for analysis. Year Chinese Title English Title 1967 一九六七年香港音樂美術節 Music & Fine Arts in Hong Kong 1967 Fine Arts Exhibition 1969 當代香港藝術 Exhibition of Contemporary Hong Kong Art 七零年代香港青年藝術家展 Young Painters of Hong Kong 今日香港藝術 Art Now Hong Kong 1972 一九七二年當代香港藝術 Contemporary Hong Kong Art 1972 Table 5.1: Hong Kong art exhibitions analysed in this chapter Apart from exhibitions in Hong Kong, the City Museum and Art Gallery also organised an exhibition of Hong Kong art at the 70 Expo in Osaka, where Hong Kong had 20

25 its own pavilion, as well as the travelling exhibition Art Now Hong Kong which toured around major cities in the United Kingdom. To understand how the notion of Hong Kong art has changed throughout the sixties and early seventies, exhibitions on the theme before and after the period of 1967 to 1974 were also considered, so as to compare and contrast the changes of how Hong Kong art was represented by the City Art Gallery. The 1962 Hong Kong Art Today and the 1975 Contemporary Hong Kong Art Biennial [ 當代香港藝術雙年展 ] were selected for the comparison. Analysis of Exhibitions All of the exhibitions listed on table 5.1 were examined through reviewing their exhibition catalogue. Four important pieces of information were researched: first, how How Kong art was presented in the exhibition catalogues; second, the artists selected to represent Hong Kong ; third, the proportion of different categories of artworks and artists; fourth, the proportion of New Ink artists in the exhibition. Cheung Wai-yee s A Study on Art Societies in Hong Kong is one of the key references consulted to decide which artists belonged to the New Ink Movement and whether they were affiliated with Lui Shou-kwan and Wucius Wong through those artist groups. The main purpose of this study is to find out if New Ink artists were given preferential treatment than non-new-ink artists in Hong Kong art exhibitions. 21

26 Before Hong Kong Art Today This exhibition was organised under the curatorship of John Warner. As stated in the catalogue, this was an open exhibition all local artists were invited to send their works to participate in the exhibition. Some artists exhibited were handpicked by the Art Gallery, whilst some others were selected from the pool of applications the City Art Gallery received. The exhibition was considered a representation of a cross section of the best work in Hong Kong s art scene. 49 The selection of entries was made by the straightforward and honest selection panel based on their preference for what they consider to be valid forms [of art] of to-day, and that they preferred material quality, 49 Hong Kong Art Today 今日的香港藝術, (Hong Kong: City Museum and Art Gallery, 1962). 22

27 intelligent experiment and originality, rather than outworn cliché, dull technical skill and cheap imitation. 50 It is clear the panel preferred to select experimental artworks rather than the traditional, established art styles to represent Hong Kong art, and thus the controversial exclusion of traditional masters from the exhibition. As for the exhibition itself, there were in total 65 artists and 120 pieces of artworks. Participating artists include Lui Shou-kwan, Chao Shao-an, Kwong Yeu-ting, Wucius Wong, Hon Chi-fun, Douglas Blend, Lee Kwong-wing [ 李國榮 ], Luis Chan [ 陳福善 ], and Cheung Yee. As for the artworks, almost half of the exhibited entries were oil paintings (58 entries), while Chinese paintings took up just around one-tenth (16 entries) of the total. 51 Eight particular artworks by different artists were selected to be sent to the Commonwealth Art Exhibition in London, including Chinese paintings by Kong Pak-yu [ 江伯魚 ], Lai Ming [ 黎明 ], Chao Shao-an [ 趙少昂 ], and Lui Shou-Kwan; oil paintings by Douglas Bland, Julia Baron, and Pang Jen [ 彭楨 ]; and a gouache by Luis Chan. 50 Ibid. 51 The Chinese translation for Chinese painting on the catalogue is guohua [ 國畫 ]. The term, however, is not clearly defined, nor does the catalogue indicate any work that falls under that category. 23

28 Proportions of Artists by category 7% 11% 10% 48% 11% 13% Paintings (Oil) Mixed Medium Chinese Paintings Prints Chart 2.1: Proportion of artists by category in 1962 Hong Kong Art Today As shown in the figure above, oil painting was the predominant art form at that time, as suggested by its landslide majority in the exhibition. Its substantial amount reflects the selection panel s pro-european, or pro-western taste, as oil was a traditional medium in European art. At the same time, the proportion of Chinese paintings in the exhibition, though significantly lower than that of the oil paintings, was still the second largest group of works to be exhibited. Despite the fact that the exhibition was dominated by oil paintings done by British painters, most of the works sent to London to represent Hong Kong were done by Chinese artists, probably because foreigners would be more fascinated by exotic Chinese works by Chinese artists to get a glimpse of the mysterious China. 24

29 Wucius Wong Period, Music & Fine Arts in Hong Kong - Fine Arts Exhibition This exhibition was part of the celebration programme for the City Hall s fifth anniversary. 140 works displayed in the exhibition were selected from a large number of entries. The introduction to the exhibition stressed on the hybridity of Hong Kong art : It was the original intention to divide the paintings exhibition into Chinese style and Western style paintings, but the selection panel could not distinguish the two styles clearly. 52 This perceived diversity was prized as the vitality of the artistic spirit in Hong Kong. 53 There were six categories: Paintings (Oil, Acrylic, etc.), Paintings (Chinese Ink), Drawings and Watercolours, Prints and Monotypes, Sculptures and Ceramics, and Chinese Calligraphy. A total number of 148 works were done by the 106 artists exhibited. The proportion of works belonging to each category is shown in figure Music and Fine Art in Hong Kong 1967 一九六七年香港音樂美術節, (Hong Kong: Urban Council, 1967). 53 Ibid. 25

30 Music & Fine Arts in Hong Kong 1967 Fine Arts Exhibition 11% 9% 31% 13% 11% 25% Paintings (Oil, Acrylic, etc.) Chinese Inks Sculptures & Ceramics Prints & Monotypes Drawings & Watercolours Chinese Calligraphy Figure 2.2: Proportion of works by category in 1967 Music & Fine Arts Fine Arts Exhibition As shown in figure 2.2, more than half of the exhibited artists belonged to the Painting and Chinese Inks sections. Almost one-third (33 people) of the total number of participating artists were from the Painting section, whilst one-fourth (26 people) were Chinese ink artists. More than half of the Chinese ink artists (14 people) were traditional Chinese ink masters, for example Lin Jen-tung [ 林建同 ], Leung Pak-yu [ 梁伯譽 ], and Wong Po-yeh [ 黃般若 ]; around one-fourth of the ink artists (6 people) were modern ink artists, such as Lui Shou-kwan, Wucius Wong, Cheung Shu-sun [ 張樹新 ], Kan Kit-keung [ 靳杰強 ], Ng Ku-hung [ 吳孤鴻 ], and Evelyn Butt [ 崔鎰 ]. Four artists from the Chinese Inks section were some of the lesser-known artists and there were too little information 26

31 available to determine whether they were practising traditional ink or modern ink, they were: Cheng Din-ming [ 鄭電明 ], Alexander Lau [ 劉秋父 ], Wai Fai-sing [ 韋輝成 ], and Jerry Lee [ 李中展 ]. The artists from other disciplines were Ho Tao [ 何弢 ] and Tong King-pun [ 唐景彬 ], architects who painted with ink. New/ Modern Ink Artists (6) 23% Fine Arts Exhibition Chinese Inks Section Artists from other Disciplines (2) 8% Artists with No Available Information (4) 15% Traditional Ink Artists (14) 54% Figure 2.3: Artists in the Chinese Inks Section in the 1967 Fine Arts Exhibition From this exhibition, one can see the variety and vitality of Hong Kong art in 1967 were still dominated by oil paintings and, to a lesser extent, Chinese ink works. Chinese ink has gained a greater proportion in terms of the number of exhibited artists, accounting for one-fourth of the total in the exhibition. This exhibition also marks the 27

32 beginning of the emergence of Modern (New) Ink art, which accounted for almost onefourth of the ink section Contemporary Hong Kong art This exhibition is the third in the series of contemporary Hong Kong art exhibitions organised by the City Museum and Art Gallery. The entries were selected by a panel of judges that included Cheung Yee, Ho Tao, Pierre Ryckmans [ 李克曼 ], J. C. Y. Watt [ 屈志仁 ] (in attendance), and Wucius Wong (in attendance). In the catalogue, J.C.Y. Watt, the Assistant Curator of the City Museum, remarks the great diversity among the entries in both the styles and the techniques employed. 54 But such diversity, he then adds, bespeaks at once the strength and weakness of the art of Hong Kong, and underlines the absence of a living tradition and the artistic discipline (not technique) that is closely associated with 54 Contemporary Hong Kong art 1969 一九六九年當代香港藝術展覽, (Hong Kong: Urban Council, 1969). 28

33 any active tradition. 55 He then points out there was a significant increase in the proportion of paintings in the Chinese manner and employing Chinese materials. 56 Of all the exhibitions organised by the City Art Gallery, this one was the first that witnessed the number of works in the Chinese Inks category superseding that of the oil and acrylic paintings. Contemporary Hong Kong Art % 12% 27% 15% 10% 28% Paintings (Oil, Acrylic, etc.) Chinese Inks Sculptures Prints Drawings, Watercolours, Collages Figure 2.4: Artists by category in Contemporary Hong Kong Art Figure 2.4 shows the proportion of artists belonging to each category in the exhibition. Chinese Inks and Paintings altogether occupied more than half of the total. 28% (36 people) of the total participants were Chinese ink artists and 27% (36 people) of them were artists who painted with oil or acrylic. 44% artists of the Chinese Inks section were New Ink 55 Ibid. 56 Ibid. 29

34 artists, seven of them belonged to the In Tao Art Association and nine did not join any art group. Yet four out of those who did not belong to any art group, Chan Yim-man [ 陳棪文 ], Lee Chee-cheung [ 李志章 ], Leung But-ying [ 粱不言 ], and Leung So-ying [ 粱素瀅 ], formed One Art Group that year with Irene Chou and Chui Tze-hung [ 徐子雄 ] from the In Tao Art Association. Contemporary Hong Kong Art % 44% 19% 25% 31% Traditional Ink Artists (11) Artists with No Available Information (9) Artists from In Tao Art Association (7) New/Modern Ink Artists with No Art Group (9)* Figure 2.5: Artists in the Chinese Inks section This exhibition reveals that the local art scene was less dominated by Western oil and foreign artists at least by the late sixties and that there was a growing interest in Chinese ink. 30

35 This exhibition is also significant in that it marked the rise of New Ink art, which took up almost half of the Chinese Inks. It is worth-noting that eleven New Ink artists were related to Lui Shou-kwan as his students or followers, and some others were Wucius Wong s fellows that belonged to the In Tao Art Association, such as Irene Chou, Chui Tze-hung and Ng Yiu-chung [ 吳耀忠 ] Young Painters of Hong Kong 31

36 Table 2.6: New Ink artist at 1970 Young Painters and art groups This exhibition showcased works by nine New Ink artists: Irene Chou, Chui Tzehung, Ng Yiu-chung, Laurence Tam, Wong Wang-fai [ 汪弘輝 ], Kan Tai-keung [ 靳埭強 ], Leung Kui-ting [ 梁巨廷 ], Cheung Shu-sun, and Cheung shu-sang [ 張樹生 ]. All of them were New Ink artists who promoted or adopted the style of modern ink painting. As shown on table 2.6, five of them, Chou, Chui, Ng, Tam and Wong belonged to the In Tao Art Association, Chou and Chui were also members of the One Art Group with Kan Tai-keung. All of the artists featured in the exhibition were students of Lui Shou-kwan and contemporaries of Wucius Wong. 32

37 The exhibition carries great significance since its title was Young Painters of Hong Kong. This exhibition was not an open exhibition and all the artists were selected by the City Art Gallery to represent Hong Kong s upcoming younger generation of painters it reflects how the Art Gallery chose to present the Hong Kong art then, no doubt a picture dominated by New Ink artists. Even though Kan Tai-keung, Leung Kui-ting, Cheung Shunsun, and Cheung shu-sang were exhibited in the previous 1969 Contemporary Hong Kong Art Exhibition with their other non-ink works, only their ink works were displayed in this Young Painters exhibition. This exhibition gave New Ink Movement great prestige and served to further consolidate New Ink art s dominance in the coming years Art Now Hong Kong The exhibition was divided into three sections: Ink Painting, Painting, and Prints & Sculpture, with Ink Painting being the largest section of the exhibition, as stated in the catalogue. There were six artists in the Ink Painting section: Leung Kui Ting, Lui Shoukwan, Ng Yiu-chung, Laurence Tam, Wong Wang-fai, and Wong Po-yeh; five in the 33

38 painting section: Douglas Blend, Kan Tai-keung, Kwong Yeu-ting, Gilbert Pan [ 潘士超 ], and Wucius Wong; Six in the Prints & Sculpture section: Cheung Yee, Ha Bik-chuen [ 夏碧 泉 ], John Hadfield [ 夏德飛 ], Hon Chi-fun, Kwong Yeu-ting, and Van Lau [ 文樓 ]. Artists by category in '72 Art Now H.K. 18% 47% 35% Paintings Ink Paintings Sculptures Figure 2.7 Artists by category in 1972 Art Now Hong Kong In the Ink Painting section, five out of six of the exhibiting artists were New Ink artists, with the notable exception of Wong Po-yeh, a guohua master. Out of the 6 ink paintings shown in the catalogue, five were painted in New Ink style and only one (by Wong Po-yeh) not in New Ink style. This shows the City Art Gallery s effort in presenting an image that New Ink had gradually became the majority amongst ink artists. It is important to note that there are other New Ink artists featured in the painting section Wucius Wong was showing his oil paintings whilst Kan Tai-keung his ink and colour on 34

39 paper. Ng Yiu-chung, Laurence Tam, Lui Shou-kwan, Wong Wang-fai and Wucius Wong were all members of at least one New Ink art group. Together with Leung Kui-ting and Kan Tai-keung, these seven New Ink artists accounted for almost half (41%) of the total number of exhibiting artists Contemporary Hong Kong Art The 1972 Contemporary Hong Kong Art was a biennial showcasing contemporary art done by local artists. The jury panel of the biennale included Hon Chi-fun, Nigel Cameron [ 金馬倫 ], and Gunther Hollmann [ 荷爾曼 ]. At the end 95 artists and 140 art pieces were selected to be displayed in the biennale, divided into six categories: Paintings, Chinese Inks, Prints, Sculptures, Chinese Calligraphy, and lastly, Drawings, Watercolours, Collages. One-fourth (24 people) of the total artists were featured in the painting section and almost one-fifth (18 people) in Chinese Inks section, as figure 2.8 illustrates. 35

40 Artists in '72 Contemporary H.K. Art 11% 25% 18% 18% 19% 9% Paintings (Oil, Acrylic, etc.) Sculptures Drawings, Watercolours, Collages Chinese Inks Prints Chinese Calligraphy Figure 2.8: Artists by category in 1972 Contemporary Hong Kong Art Wucius Wong wrote the introduction of the catalogue, where he mentions that the exhibition represents a biennial survey of the Hong Kong art scene, and that in this exhibition, the evolution of a Hong Kong style has finally become evident. 57 There were 18 artists in the Chinese inks sections and 11 of them were either students or followers of Lui Shou-kwan accounting for 77% of the total Ink section. Traditional Chinese ink masters such as Leung Pak-yu, and Wong Po-yeh, were shunned from the exhibition. This was unusual considering the fact that traditional ink artists used to have at least a few places in previous exhibitions. Artists in the Chinese Inks were younger compared to those exhibited in previous exhibitions. Other than Chinese Inks section, one third of the artists (Eight artists) in the painting sections were artists who adopted New Ink style: Wucius 57 Contemporary Hong Kong art 1972 一九七二年當代香港藝術展覽, (Hong Kong: Urban Council, 1972). 36

41 Wong, Liu Kuo-sung, Leung Kui-ting, Chui Tse-hung, Lee Ching-man [ 李靜雯 ], Yu Saikin [ 余世堅 ], Kan Tai-keung, and Szeto Mo-yeh [ 司徒無弱 ]. According to Lau Kin-wai [ 劉健威 ], works by those artists resembled New Ink art and thus the overall exhibition gave an impression of being dominated by New Ink art. 58 Figure 2.9 demonstrates that half of the New Ink artists featured in the exhibition were either from One Art Group or In Tao Art Association, both founded by students of Lui Shou-kwan. New Ink artists by art groups 22% 33% 50% 17% 28% Artists with No Art Group(New Ink) Artists with No Available Information Artists from One Art Group( 一畫會 ) Artists from In Tao Art Association( 元道畫會 ) Figure 2.9: New Ink artists by art groups This exhibition reveals several important points about the art scene at the time: first, Chinese Inks continued to be one of the most popular mediums used by Hong Kong artists; second, the New Ink Movement began to shine, as reflected in the proportion of New Ink 58 Lau, Kin-wai 劉健威. Xiang gang shui mo hua yun dong yan jiu 香港水墨畫運動研究 (The Study of Hong Kong s New Ink Movement) (master s thesis, The Chinese University of Hong Kong, 1992),

42 artists in the exhibition, New Ink artists gradually replaced the traditional ink painters and became the mainstream in the Chinese Inks section. This biennial survey recognised and confirmed the rise of New Ink art, and, in Wong s words, the evolution of a Hong Kong style. 59 After Contemporary Hong Kong Art Biennial In accordance with previous exhibitions, the Contemporary Hong Kong Art Biennial in 1975 also aimed to provide a forum for Hong Kong art and to keep the record up todate. 60 This year, 269 artists participated in the biennial by submitting their works; almost 750 paintings, prints, sculpture and calligraphy were received. The panel of judges for the biennial were Bonnie Chan [ 陳佩文 ], Chung Wah-nan [ 鍾南華 ], Gunther Hollmann, Lui Shou-kwan, Clifford Shun Wah [ 周國勝 ], and Sun Chung [ 莊申 ]. The artworks were divided into six main categories: Paintings, Prints, Drawings, Watercolours, Collage and Others, Chinese Inks (Contemporary) and Chinese Inks (Traditional), Calligraphy, and Sculpture. 112 artists and 175 entries were exhibited. Chinese inks artists accounted for the largest part of the exhibition, taking up 29% (32 people) of the total. Drawings, Watercolour and watercolours came second with 22% (25 59 Contemporary Hong Kong art 1972 一九七二年當代香港藝術展覽, (Hong Kong: Urban Council, 1972). 60 Contemporary Hong Kong art 1975 一九七五年當代香港藝術展覽, (Hong Kong: Urban Council, 1975). 38

43 people). For the first time the number of artists in the Painting section was lower than that o the Chinese Inks section and occupied only 12% (14 people) of the total. Artists by category in '75 Contemporary H.K. 9% 12% 22% 29% 19% 9% Paintings (Oil, Acrylic, etc.) Sculptures Drawings, Watercolours, Collages Chinese Inks Prints Chinese Calligraphy Figure 2.10: Artists by category in 1975 Contemporary Hong Kong Art Biennial Even within the Chinese Inks section, this exhibition sub-divided it into two subsections: Contemporary and Traditional. The Contemporary sub-section consisted of 22 artists (68% of the Chinese Inks) and the Traditional sub-section only 10 artists (32%). Among the 32 artists, ten of them were members of One Art Group, including Chan Flora Kay [ 陳鳳姬 ], Cheng Wei-kwok [ 鄭維國 ], Lee Ching-man, Kan Tai-keung, Irene Chou, Chui Tze-hung, Ng Yiu-chung, Poon Chun-wah [ 潘振華 ], Lui Shou-kwan (advisor to the group), and Wucius Wong (advisor to the group). Other exhibiting artists in the section were less well-known and this is their first public appearance in this series of exhibition, such as Alvin Yin [ 殷捷 ], But Aser [ 畢子融 ], and Wong Sing-chung [ 黃聖聰 ]. For 39

44 traditional inks, 3 out of 10 of the artists were members of One Art Group, including Lee Chi-cheung [ 李志章 ], Jat See-yu [ 翟仕堯 ], and Ho Choi-on [ 何才安 ]. The significance of this exhibition can be summed up in a few points. First, it was the first time the Chinese Inks section was divided into two sub-sections: Contemporary and Traditional. The separation of the two implied that modern ink was in its state of maturity, with distinct characteristics that could be clearly differentiated from traditional ink. The large number of New Ink artists, as well as New Ink entries, indicated the dominance of the art style at the time. In addition many young New Ink artists made their appearance and this could be the result of Lui Shou-kwan, Wucius Wong, and other New Ink pioneers effort in promoting the art style. Second, two out of three awards in the Chinese Inks section were given to New ink artists whilst no traditional ink artist was awarded. Third, there was a significant drop in the proportion of oil and acrylic paintings when compared to previous exhibitions. Its popularity was overtaken by Chinese Inks, as evident in the proportion of artists by that category in this exhibition. Findings From the analysis of exhibitions above, several changes and characteristics about the exhibitions were identified. These exhibitions, as stated in several catalogues, were up todate records reporting and documenting trends in the Hong Kong art scene. With the City Art Gallery being the only official art museum at that time, these exhibitions would to a great extent affect people s impression of Hong Kong art. 40

45 Number of Entries 1. The Decline of Paintings and the Rise of Chinese Inks From the examination of the exhibitions, there was a distinct decrease in the number of oil or acrylic exhibits and an increase in Chinese ink exhibits. This tendency is shown below in figure 2.11 and figure Artworks exhibited in 'Paintings' category Paintings (Oil,Acrylic,etc.) 10 0 Exhibitions held during Figure 2.11: Painting artworks from 1962 to

46 Number of Entries Number of Oil Artist Music & Fine Arts 'Painting' artists from Contemporary HK Art Contemporary HK Art Exhibition held during Contemporary HK Art Biennial Paintings (Oil,Acrylic,etc.) Figure 2.12: Painting artists from 1967 to Amount of 'Paintings' & 'Chinese Inks' artworks Paintings (Oil,Acrylic,etc.) Chinese Inks 10 0 Exhibitions held during Figure 2.13: amount of Paintings and Chinese Inks artworks in exhibitions from 1962 to

47 Number of Artists Artists in 'Paintings' & 'Chinese Inks' category 1967 Music & Fine Arts 1969 Contemporary HK Art 1972 Contemporary HK Art Exhibition held during Contemporary HK Art Biennial Paintings (Oil,Acrylic,etc.) Chinese Inks Figure 2.14: amount of Paintings and Chinese Inks artists in exhibitions from 1962 to 1975 Figures 2.11 illustrates the amount of oil paintings displayed in exhibitions held during the period of ; figure 2.12 the amount of artists who exhibited their oil or acrylic paintings in exhibitions from 1967 to 1975; Figure 2.13 and 2.14 are, respectively, figure 2.11 and 2.12 combined with data of the same kind for Chinese ink. Figure 2.13 reveals oil or acrylic paintings were on decline throughout the late sixties and early seventies, which coincided with the rise of Chinese ink works in exhibitions. Despite a dramatic fluctuation in 1972, the number of Chinese ink works was generally on the rise in the period. Figure 2.14 displays a similar trend in that the number of Chinese ink artists soared and surpassed that of oil painters in Although figure 2.13 shows in 1972 the amount of Chinese ink works seems to be significantly lower than that of the oil paintings, 43

48 Number of Artists figure 2.14 could serve to explain the difference between the number of Chinese ink artists featured in the exhibition and those using oil or acrylic was actually not as drastic as it might seem. On the whole during the years of 1967 to 1974 when Wucius Wong was the City Art Gallery s Assistant Curator Chinese ink artworks featured in exhibitions continued to rise in number. 2. The rise of New Ink art in the late sixties and early seventies 25 Ink artists exhibited, Traditional Inks New Inks 0 Exhibitions held during Figure 2.15: Ink artists in exhibition from 1967 to 1975 As mentioned previously, New Ink art came to occupy a larger proportion in exhibitions after 1967 and there was indeed a rising trend in terms of statistics. Figure 7.5 displays the overall trend of New Ink artists featured in exhibitions from 1967 to In the 1967 exhibition, 14 ink artists were traditional Chinese ink artists, accounting for 54% 44

49 of the total ink artists. In 1969 the situation began to reverse, just 44% of the ink artists were traditional ink artists. Since then number of New Ink artists featured in Hong Kong art exhibitions was always higher than that of the traditional ink artists. The 1972 Art Now Hong Kong exhibitions, as mentioned earlier, had its ink section almost exclusively dominated by New Ink artists. The Contemporary Hong Kong Art exhibition held in the same year showed a similar trend, with 14 out of the 18 ink artists being New Ink artists. Traditional ink masters such as Lin Jen-tung, Leung Pak-yu, and Wong Po-yeh, did not have a presence at all in the exhibition. By 1975 in the Contemporary Hong Kong Art Biennial New Ink artists dominated two-third of the ink section and only one-third of the artists included in the exhibition were practising traditional ink. By 1975, New Ink art had dominated the Chinese inks section and been accepted as the orthodox mainstream Hong Kong art. 3. The inclination towards specific New Ink art groups After analysing the five exhibitions held from 1967 to 1974, as well as the Contemporary Hong Kong Art Biennial in 1975, it is found that New Ink artists from particular art groups had a higher likelihood to be featured in exhibition to represent Contemporary Hong Kong art, especially those who were students of Lui Shou-kwan or contemporaries of Wucius Wong. 45

50 Chinese Inks section in 1969 Contemporary H.K. Art % Students of Lui / Fellows of Wong 69% Other Artists Figure 2.16: The proportion of Lui s students or Wong s fellows in the 1969 Contemporary Hong Kong Art exhibition The Contemporary Hong Kong Art exhibition in 1969 marked the emergence of New Ink art, for New Ink artists occupied almost half of the places in the Chinese Inks section. Amongst all the Chinese ink artists included in the exhibition, almost one-third of them were taught by Lui Shou-kwan or related to Wucius Wong. The favouring is most apparent in the Young Painters of Hong Kong exhibition in A lot of exhibiting artists were students of Lui Shou-kwan from his Painting courses at the Chinese University of Hong Kong and the University of Hong Kong, such as Irene Chou and Chui Tze-hung, both of them were members of the One Art Group, and Lui Shou-kwan and Wucius Wong were both advisers to the art group. More than half of the exhibiting artists, including Chou, Chui, Laurence Tam, Ng Yiu-chung and Wong Wang-fai were members of the In Tao Art Association, another art group formed by Lui s students from the ink painting course at the Chinese University. The 1972 Contemporary Hong Kong Art exhibition showed such an inclination as well more than half of the Chinese ink 46

51 artists featured in the exhibition were artists from the In Tao Art Association, as shown in figure Chinese Inks section in 1972 Contemporary H.K. Art exhibition Artists belonged to In Tao or One Art Group Artists Without Art Group Figure 2.17: Chinese ink artists in the 1972 Contemporary Hong Kong Art exhibition From these results, it is clear that artists trained by Lui Shou-kwan and from art groups related to Lui Shou-kwan and Wucius Wong, in particular the In Tao Art Association and One Art Group, had a higher chance to be featured in exhibitions on contemporary Hong Kong art organised by the City Art Gallery. Summary After the analysis, it is found that Chinese Ink rose in popularity in the exhibitions organised by the City Art Gallery from the early sixties to mid-seventies, and this coincided with the decline of the oil and acrylic paintings, traditional Western painting medium. New Ink art gradually became the mainstream in the Chinese Inks section, and New Ink artists 47

52 that were related to Lui Shou-kwan and Wucius Wong enjoyed a continuous presence in the Contemporary Hong Kong art exhibitions during the period. This privileging became evident in 1975 when the first Contemporary Hong Kong Art Biennial was held, even one year after Wucius Wong left the City Art Gallery. This indicates the perception of New Ink art as mainstream Hong Kong art had been successfully established during the years when Wucius Wong was at the City Art Gallery. It is also noteworthy that it was not until 1967 did City Art Gallery begin to focus on exhibiting Contemporary Hong Kong art although there were indeed exhibitions showcasing contemporary works by local artist, they were either artist solo-exhibitions or small-scale art group exhibitions. Could this be somehow related to the political turmoil in 1967? Next chapter attempts to analyse New Ink art s rise from a political perspective. 48

53 Chapter 3: Political Connotations for the Emergence of New Ink Art in the Sixties & Seventies This chapter proposes connotations for the emergence of New Ink art in the late sixties and early seventies with reference to the political condition at the time. After demonstrating City Art Gallery had been selectively exhibiting New Ink artists and helped contribute to New Ink art s dominance in the art scene in the late sixties, this chapter argues the City Art Gallery s promotion of New Ink art could actually be part of the Colonial Government s political agenda. The first part of this chapter reviews scholars writings on the power of museums in prizing certain art forms and establishing identities for political purpose. After that is the general background information of the socio-political context in Hong Kong at that period, an introduction of the Leftist Riot in 1967 and the changes following that. Next the focus shifts to the Colonial Government s localisation policy in the wake of the Riot and the City Hall Museum and Art Gallery s amendment of its Statement of Aims in 1967; the last part of this chapter explores the connection between art groups and politics, the linkage between New Ink art s hybrid characteristic and Hong Kong s troubled identity, and proposes the City Art Gallery s preference towards New Ink art was in effect part of the Colonial Government s scheme in establishing a local artistic identity. 49

54 Review of the Power of Museums The power of museums as powerful cultural institutions in shaping identity and legitimising certain forms of culture for political advantage to those who control them has been well-explored by multiple scholars. DiMaggio studied the programmes at the Boston Museum of Fine Arts and the Boston Symphony Orchestra and those organisations connection to the city s upper social class in nineteenth-century Boston. 61 He revealed how the city s social elites used the Museum and the Orchestra s programmes to showcase as well as limit access to their cultural capital and establish a base for high culture in nineteenth-century America to counter the political threats presented by the city s rapidly growing immigrant and working class population. Gregor Langfeld, on the other hand, investigated how the Director of the Museum of Modern Art (MoMA) in New York, now one of the most authoritative and dominant art institutions in the world, changed the public s resentment towards German Expressionism in the late thirties. 62 German Expressionist art was shaped by the director of the Museum and his associates as the orthodox modern German art the American public could sympathise with and relate to through portraying it as an art style associated with values of freedom and individualism. DiMaggio and Langfeld demonstrated the social function of art and demystified the rise of art styles. As for displays in museums, Carol Duncan studied the eighteenth-century Louvre and its transformation from a royal collection to a national art museum during the French 61 DiMaggio, Cultural entrepreneurship in nineteenth-century Boston: the creation of an organisational base for high culture in America, Langfeld, How the Museum of Modern Art in New York canonised German Expressionism,

55 Revolution, a move which signified the end of the ancien régime and the rise of the public in France. 63 Collection display method and iconography at the new Musée du Louvre had to be modified to reflect and accommodate the museum s new bourgeois audience, as well as to demonstrate the glory of the state in its setting. The Louvre s success made it a prototype of modern museums. Across the channel, alarmed by the rise of republicanism and in awe of its old rival s achievement, the English Parliament approved the founding of the National Gallery in London, the first public art museum in England, to appease the rising middle class demand of a more open and liberal government. Apart from Duncan, Timothy Luke focused on symbolic politics and emphasises the significance of museums as sites of public instruction and collective imagination. 64 Luke examined themes and representations in controversial exhibitions such as The West as America show at the National Museum of American Art in Washington, the National Air and Space Museum s show for the fiftieth anniversary of the bombing of Hiroshima and the U.S. Holocaust Memorial Museum s approach to interpret and display the Holocaust. Both Carol Duncan and Timothy Luke looked into the politics in museum exhibitions and showed that museum possess the power to affect our values and define realities through exhibition. Meanwhile, Victoria Alexander inspected more than four thousand exhibitions at large American art museum from 1960 to 1986 in her research on the conflict of interests 63 Duncan, From the Princely Gallery to the Public Art Museum: The Louvre and the National Gallery, London, in Civilizing Rituals: Inside Public Art Museums. 64 Luke, Museum Politics, xxv. 51

56 between museum funders and museum curators on exhibition mounting. 65 Alexander examined the connection between funder and exhibition types and also the changes in the exhibition data pool she compiled before and after a shift in the types of funding available to the museums, as well as interviews with museum curators and qualitative information from the museum s annual reports. Alexander s research suggests that art is shaped by organisational processes and that museum funders do exert a certain level of influence on exhibition formats. 66 As for museums in Hong Kong, John Carroll and Janet Ng both studied how the history of Hong Kong was narrated for political purpose. 67 Based on museum exhibits and publications, Carroll found that the three major museums in Hong Kong, the Museum of History, the Museum of Coastal Defence, and the Heritage Museum, whitewashed Hong Kong s past to depoliticise the present by downplaying Britain s role in Hong Kong s political segregation with China and Hong Kong s economic and social development. For example, the Museums were careful in its exhibitions to avoid criticising the British on the Opium Wars. Carroll also pointed out the museums and heritage preservation in postcolonial stress on Hong Kong s hybrid condition and cosmopolitanism as well as the 65 Victoria D. Alexander, Pictures at an Exhibition: Conflicting Pressures in Museums and the Display of Art, American Journal of Sociology 101, no.4 (Jan 1996): Alexander drew inspiration from previous sociological analysis of art such as Diana Crane, The Transformation of the Avant-garde: the New York Art World, , (Chicago: University of Chicago Press, 1987).; Arthur Danto, The State of the Art, (New York: Prentice Hall Press, 1987).; and Raymond Williams, The Sociology of Culture, (Chicago: University of Chicago Press, 1981). 67 John M. Carroll, Displaying the Past to Serve the Present: Museums and Heritage Preservation in Post-Colonial Hong Kong?, Twentieth-Century China 31, no. 1 (01 November 2005): ; and Janet Ng, Walking Down Memory Lane: On the Streets of the Hong Kong History Museum s Paradigm City, in Paradigm City Space, Culture, and Capitalism in Hong Kong: , (Albany: SUNY Press, 2009). 52

57 city s Chinese root to emphasise Hong Kong s bond to Mainland China. Janet Ng, in her study of the History Museum s presentation of the history of Hong Kong, observed a similar phenomenon. 68 Through analysing the museum s main exhibition, The Story of Hong Kong, Ng argues Hong Kong s history has been sinicised by the museum s emphasis on the history of pre-colonial Hong Kong and its connection to Mainland China. Ng analysed also the carefully designed and de-politicised artificial colonial street scenes which resemble a theme-park ride that plays with nostalgia and celebrates a certain value and attitude that would be the Hong Kong spirit. 69 Ng touches upon the issue of museum s ability to manipulate identity formation and propagate capitalist ideology to turn the pursuit of social order into a social value. Carroll and Ng s studies show museums in Hong Kong have to fulfil the Government s political agenda and be consistent with the state s propaganda machine. All these studies have reviewed the connection between museums as cultural institutions and their potential ability to establish identity through its exhibits and museum experience to achieve certain political effects desirable to the interests of the dominant political parties or ruling class. Later part of this chapter shall analyse the City Art Gallery s inclination towards showing New Ink Movement artists and their art from such a perspective, as what was displayed in the Art Gallery would surely affect the public s perception of the Colony and its artistic identity, especially when the institution was the 68 Ng, Walking Down Memory Lane: On the Streets of the Hong Kong History Museum s Paradigm City, Ibid.,

58 only official venue for the display of art in the Colony for quite a long time throughout the sixties until the end of the first half of the seventies. Socio-political context of HK (Sixties Seventies) Because of its proximity to Communist China and its political status as a British colony in the Far East, Hong Kong was a place of constant political conflicts and social struggles. 70 The founding of the People s Republic in China contributed to Hong Kong s new prominence, both in the British Empire and across the globe. 71 The Colony was at the forefront of the clash between capitalist and communist ideologies and an important base for propaganda machines from both sides and a vital foothold of great strategic significance to Western capitalist powers to gather intelligence and organise covert activities against Communist China. 72 A variety of magazines such as America Today, Four Seas, and pamphlets were published by U.S. information service to counter communist influence in the region. 73 The little British colony was swirled into the political struggles between pro- Communist and pro-nationalist camps and this caused divide and social upheavals in the society such as the 1956 Riot [ 雙十暴動 ]. 70 Please see John M. Carroll, A Concise History of Hong Kong, (Lanham: Rowman & Littlefield, 2007); Wang Gung-wu 王賡武 ed., Xianggan Shi Xin bian Shang 香港史新編上 (Hong Kong History: New Perspectives, Vol 1), (Hong Kong: Joint Publishing 三聯出版, 1997); Liu Shu-yong 劉蜀永, Jian ming xiang gang shi 簡明香港史 (A Short History of Hong Kong), (Hong Kong: Joint Publishing 三聯出版, 1998).; and also Ian Scott, Legitimacy and its Discontents: Hong Kong and the Reversion to Chinese Sovereignty, Asian Journal of Political Science 1, no. 1, (June 1993) for a better understanding of the socio-political context of the time 71 Carroll, A Concise History of Hong Kong, Ibid., Ibid. 54

59 At the same time, the U.S. and the U.N. embargos against China caused Hong Kong to shift its role from trading to manufacture for Western markets and contributed to its economic prosperity, supported by the Government-inspired Federation of Hong Kong Industries set up in Until 1953 only less than one-third of the city s exports were produced in the city, the figure climbed significantly within less than a decade, and rose to more than two-third by Hong Kong s economic miracle and relative political stability in the region gradually cultivated a sense of pride amongst the citizens. 76 At the same time China s closed border and self-imposed isolation from the rest of the world provided the British an opportunity for exploitation. As Carroll reports, a committee appointed by the Education Department in 1952 recommended an emphasis on Chinese culture. Bernard Luk argues this was the Colonial Government s tactic ploy to establish an abstract Chinese identity that vaguely resembles that of the émigré. That curriculum helped foster a sense of Hong Kong being at the periphery of both the Chinese and Western worlds, 77 similar to the term marginal man Robert Park coins, A man living and sharing intimately in the cultural life and traditions of two distinct peoples [ ] a man on the margin of two cultures and two societies, which never completely interpenetrated and fused. 78 Hong Kong people wandered between Chinese traditions and Euro-American influences, thus becoming a marginal group. This was likely the beginning of the 74 Report of the Advisory Committee on the Proposed Federation of Industries, (Hong Kong: W.F.C. Jenner, Govt, 1958). See also Matthew Turner, The Making of Hong Kong, (Hong Kong: Federation of Hong Kong Industries 30 th Anniversary), Carroll, A Concise History of Hong Kong, Cheung, A Study on Art Societies in Hong Kong, Carroll, A Concise History of Hong Kong, Robert E Park, Human Migration and the Marginal Man, American Journal of Sociology 33, no. 6 (May 1928):

60 emergence of an alternative identity for people in Hong Kong. Whilst it is not accurate to say a conscious Hong Kong identity had formed then, it is roughly at this point did Hong Kong people begin to differentiate themselves from Mainland Chinese. The Star Ferry Riot in 1966 was a sign that locals began to identify themselves with the city and there was a growing awareness on social problems such as housing and corruption. 79 Indeed, the sixties was, in Turner s description, a coming of age of the Hong Kong people. 80 Since the early sixties the Colony witnessed a growing disparity between the rich and the poor and also an influx of refugees. Dissatisfaction with the Government s inaction had ignited several strikes and demonstrations throughout the Colony. In May 1967, a dispute over wages and working hours erupted into waves of protest and demonstrations incited by left-wing activists in the Colony, a half-year-long incident that took its inspiration from the Cultural Revolution in China. During the six months, leftists attacked the police and planted bombs throughout the city, some of the more radical left-wing schools asked their students to support the leftist s cause by producing bombs in school laboratories. 81 At the end of it several hundreds were injured and thousands were arrested. 82 The month-long struggles against the Colonial Government s oppression and the capitalist ideology did not 79 Carroll, A Concise History of Hong Kong,149.; also Matthew Turner and Irene Ngan ed, Hong Kong Sixties: Designing Identity, (Hong Kong: Hong Kong Arts Centre, 1995), Matthew Turner, 60s/90s: Dissolving the People, West Coast Line: A Journal of Contemporary Writing and Criticism 30, no. 3, (Winter 1997), Carroll, A Concise History of Hong Kong, Ibid.; Also see Chiu, Wing-kai 趙永佳, Lui, Tai-lok 呂大樂, and Yong, Sai-shing 容世誠, ed., Xiong huai zuguo: xiang gang ai guo zuo pai yun dong 胸懷祖國 : 香港 愛國左派 運動 (Embrace the Motherland: Patriotic Leftist movement in Hong Kong), (Hong Kong: Oxford University Press 牛津出版社, 2014). and also Yip, Man-hei 葉文喜, The changing patterns of the Hong Kong Identity, from the 1966 Riot to the 1997 handover, (master s thesis, The University of Hong Kong, 2002),

61 undermine the Government s authority and capitalism but, ironically, reinforced their legitimacy, and reminded Hong Kong people that it served Hong Kong people little purpose to resist the Colonial rule. 83 The incident also contributed to the public realisation of a sense of special community that is separated from Mainland China as well as the British Colonial Government. 84 Colonial Government s Policy Change Following the 67 Riot After the Riot in 1967, the Colonial Government implemented several changes on general administrative and cultural policies. As scholar M. K. Chan notes, 1967 marked a crucial turning point in the development of the colonial regime s irreversible awareness of and irrevocable commitment to a more conscientious and responsive social policy. 85 The Riot was a rude awakening to the British Government and the Hong Kong Colonial Government, and alarmed them of the urgency to improve relations and communication with local communities, implement mass education scheme and establish a sense of belonging to the Colony. 86 According to Matthew Turner, the rhetoric of citizenship, community and belonging was deployed, since 1967, by the Colonial Government as 83 Chin, Wan 陳雲. Xiang gang you wen hua xiang gang de wen hua zheng ce (shang juan) 香港有文化 香港的文化政策 ( 上卷 )(Hong Kong and Her Culture: Hong Kong's Cultural Policy (Vol.1)). (Hong Kong: Acadia Publishing 花千樹出版社, 2008), 76.; (Carroll, A Concise History of Hong Kong, 158.; Turner & Ngan ed, Hong Kong Sixties: Designing Identity, (Hong Kong: Hong Kong Arts Centre, 1995), Carroll, A Concise History of Hong Kong, Chan Ming Kou, 'Labour vs Crown: Aspects of Society-State Interactions in the Hong Kong Labour Movement Before World War II', in Between East and West: Aspects of Social and Political Development in Hong Kong, edited by Elizabeth Sinn, Yuk-yee (Hong Kong: Centre of Asian Studies, University of Hong Kong, 1990), Carroll, A Concise History of Hong Kong,

62 anti-communist counter-propaganda. 87 First of all, Governor David Trench introduced the City District Officer system to foster communication between government and people. 88 The name of the position Secretary for Chinese Affairs was changed to Secretary for Home Affairs in At the same time, the Colony was, as Chin observes, referred to as the territory instead of the colony or the Crown colony. 90 Even though these name changes were subtle they nonetheless showed the Colonial Government s effort in patronising the public. Apart from those, the Government pushed for compulsory education, welfare and other legislations such as the weekly day off bill in 1970, 91 as well as transparency in governance. The Colonial Government believed the main cause of the riot was the idle youth in the Colony that was susceptible to the Leftist groups political indoctrination, 92 therefore the Government exploited the educational and recreational side of arts and culture to occupy and distract citizens from political activities and at the same time to foster a sense of Hong Kong community pride. Some of the examples include the Hong Kong week in the October of 1967, co-organised by the Government and the Federation of Hong Kong Industries to promote local products and provide entertainment to demonstrate the community was as one ; 93 Television Broadcasting Limited s (TVB) first broadcast in November the same year and its famous long-running entertainment programme Enjoy 87 Turner, 60s/90s: Dissolving the People, Carroll, A Concise History of Hong Kong, Ibid. 90 Chin, Hong Kong and Her Culture: Hong Kong's Cultural Policy (Vol.1), Carroll, A Concise History of Hong Kong, Chin, Hong Kong and Her Culture: Hong Kong's Cultural Policy (Vol.1), Turner, 60s/90s: Dissolving the People,

63 Yourself Tonight [ 歡樂今宵 ]; the Hong Kong Festival; the Keep Hong Kong Clean Campaign; the Government s enthusiasm in local history and heritage; and the annual Chinese Manufacturers Exhibition of Hong Kong Products that was the Colony s largest festival other than Chinese New Year. 94 It is likely these grand festivals and entertainment were promoting an identity of collective consumption to combat the Communist China s socialist propaganda. 95 It is at this instance when the formation of a truly local identity based in Hong Kong was made possible through a series of social policies, slogans, de-politicised activities and administrative reforms adopted by the Colonial Government for the purpose of community building. 96 Cheung also mentions the formation of a new, vague form of identity, or Hong-Kong-ness, that claims lineage to neither China nor Great Britain was part of the Colonial Government s political scheme for governance. 97 Eva Man remarks the localisation policy laid the groundwork for Hong Kong s search for its identity through art. 98 The relation between the emergence of New Ink art and politics shall be more analysed in greater detail in later part of this chapter. City Art Gallery and Hong Kong Art The City Museum and Art Gallery was under the jurisdiction of the Hong Kong Urban Council and a Museum Committee ruled over matters such as collection policy and 94 See Chin, Hong Kong and Her Culture: Hong Kong's Cultural Policy (Vol.1), 78. Also Turner, 60s/90s: Dissolving the People, Carroll, A Concise History of Hong Kong, 81. Also Turner, 60s/90s: Dissolving the People, Turner, 60s/90s: Dissolving the People, Cheung, A Study on Art Societies in Hong Kong, Man, A Museum of Hybridity,

64 funding. 99 As mentioned previously, the Colonial Government shifted its focus to arts and culture after the Leftist Riot in 1967, the Urban Council, as part of the official administrative structure responsible for the development of arts and cultural in the city, would naturally follow the Government s political agenda. Even though the Council had independent budget authority and supervisory power, 100 the change in government policy would surely have influenced the City Art Gallery to readjust its policy and aims to satisfy the Colonial Government s political needs. After going through government documents on the development of the City Art Gallery from the Public Records Office, it was found that a committee paper MAG/20/67 was issued on the 8 th September, 1967, a document that listed the institution s statement of aims for the coming year. It was generally the same as the previous year s. Yet curiously just 18 days after the document was issued, another committee paper MAG/24/67 was issued, it says In accordance with the decision of the last meeting of the Museum and Art Gallery Select Committee (Committee Minute MAG/4/67) [ ] revised aims for 1968 are suggested. It is unfortunate that the minute MAG/4/67 could not be accessed, nonetheless these two documents reveal that the Museum Committee amended, or in its own words, rephrased, the institution s Statement of Aims for the coming year. The rephrased version, paper MAG/24/67, includes more items than the previous version. Most notably item (c) was expanded and became two new items in the new version: item (e) and item (f). The original item (c) reads: To develop as a first priority the section of the Museum 99 Tam, Hong Kong Art, Man, A Museum of Hybridity,

65 devoted to local archaeology, history and ethnography. The item (e) and (f) in the new version are, respectively, to give priority to the section of the Museum devoted to local archaeology in order to discover and describe details of the early life of the area, and, to give priority to the section of the Museum devoted to local history and ethnography in order to describe the immediate local scene its people and environment. 101 The new proposed statement of aims stresses more emphasis on local and seems to show the institution s renewed enthusiasm in the Colony s past. It should be noted this was the only time, throughout the institution s operation from 1962 to 1972, that the statement of aims was modified. It is reasonable to presume, in terms of its time of occurrence, this change of the City Hall Museum and Art Gallery s statement of aims was the institution s response to the Colonial Government s localisation policy. Even though the statement of aims does not specifically mention any policy related to the Art Gallery, since this document was an institutional-wide document, it would surely have somehow affected the Art Gallery s policy as well to shift its focus on local art. It would not be correct, however, to say that the City Art Gallery had begun to promote local art all of a sudden since The term Hong Kong art was used as early as 1962 when the institution opened, in the exhibition Hong Kong Art Today. Even so, as previously analysed, in the 1962 Hong Kong Art Today exhibition most of the artists included were Westerners and most of the works presented were oil paintings. This situation began to change when Wucius Wong came to the City Art Gallery in As the sixties 101 Committee paper MAG/24/67 61

66 approached to an end, the City Art Gallery seemed to be more enthusiastic about Contemporary Hong Kong art and New Ink artists gradually came to occupy a formidable proportion in those contemporary local art exhibitions, marginalising the influence of traditional guohua groups in the art scene. For the administration, as previously mentioned, there was a pressing political need to suppress the leftist groups operation and popularity in the Colony and cultivate a sense of belonging to the Colony by promoting Hong-Kong-ness, particularly after the Riot in This leads one to wonder if the growing dominance of of Lui Shou-kwan and Wucius Wong s coterie at the Colony s official art museum may somehow be related to the Colonial Government s political goals after the 67 Riot. The next section explores the connection between New Ink art s characteristics and the Hong-Kong-ness the Colonial Government intended to promote. New Ink Art & Hong-Kong-ness Since Wucius Wong served as the Assistant Curator at the City Art Gallery at that period, his essays and articles on New Ink art would have had an impact on how the Colonial Government s understood and perceived New Ink art. As such Wucius Wong s writings would be the main source of reference here for the analysis of New Ink art s characteristics and investigation of how they could be politically amenable for the Government to downplay Hong Kong s connection to China for the purpose of by to helping to distinguish a Hong Kong artistic identity. 62

67 In the catalogue introduction Wucius Wong wrote for the 1972 exhibition Contemporary Hong Kong Art, Wong remarked how the Hong Kong style [in art] has finally emerged. This style, according to him, rests on the various points where this East- West cultural interfusion takes place and that this blending of Eastern and Western ideas contributed to mark the characteristics of our Hong Kong Style. 102 It should be noted this 1972 exhibition which Wong claimed to have displayed Hong Kong Style, as analysed previously, presented an impression of being dominated by New Ink artists. Wong seemed to have a tendency to portray Hong Kong art as equivalent to New Ink art and vice versa. In his article The Founding of Hong Kong Art, 103 published in the same year, he lays out some of the, in his view, defining qualities of Hong Kong art. Hong Kong art, he comments, must be rooted in Hong Kong, not imitating art from elsewhere, and that Hong Kong artists must never repudiate their associations with Hong Kong, even when we attempt to seek recognition from a return to traditions because Hong Kong s soil is where our artistic development is grounded. 104 Wong later claims that adhering to traditions from the past would mean a betrayal to today s modernity; whereas adhering to today s modernity would mean a betrayal to traditions from the past. 105 He suggests that Hong Kong artists ought to choose a pathway that blends, or at least acknowledge the influences of both Chinese traditionalist narrative and Euro-American modernist narrative. Up until 102 Contemporary Hong Kong art 1972 一九七二年當代香港藝術展覽, (Hong Kong: Urban Council, 1972). 103 Zhang, Collection of Essays by Wucius Wong, Ibid., Ibid. 63

68 this point Wong has not directly linked Hong Kong art with New Ink art, but in another article also published in 1972, Hong Kong Modern Ink Painting, 106 Wong mentions there were different groups practicing different art styles in Hong Kong, meanwhile Wong asserts continuously in the article that the Modern Ink style was the only suitable and orthodox pathway for Hong Kong artists to pursue and build up an artistic identity for Hong Kong. Wong explains Hong Kong, due to its peculiar geographical location, made it susceptible to different influences. 107 He first divides Hong Kong art into two main categories, first the Western panting (Xihua, 西畫, by which he probably meant art executed in the Euro-American modern art style) group and then the guohua (traditional Chinese painting) group. They can be further sub-divided into Traditional western painting, New western painting, Traditional national painting and New national painting. According to Wong, New national painting is modern ink painting. 108 Wong later goes on to propose two possible directions for modern Hong Kong art: Hong Kong artists could choose to declare their allegiance to Western art trends and movements : though it would require tremendous effort to immersing oneself in Western culture and its soil ; or, Wong presents the better alternative: Hong Kong artists could choose to absorb influences from both the West and the East, establish its root on the soil we are standing and review the Eastern traditions to invent an artistic pathway that is different from the West. 109 He then announces New National painting, i.e., modern ink painting, is 106 Ibid., Ibid., Ibid. 109 Ibid.,

69 an artistic pathway that is different from the West. 110 A similar rhetoric is repeated in the article Hong Kong Art s Seventies in 1974, where Wong proclaims the Seventies as a decade of re-beginning, a decade of progress and that The new traditions in Hong Kong art in the last twenty years gradually became a unique Hong Kong art. 111 This Hong Kong art, he declares, is not a remote regional art form, but rather, the result of a mix of Chinese culture and Western culture that belongs to China and also to the world. 112 This seems to be a reference to New Ink art and a confirmation of its canonical status as the standard, orthodox Hong Kong art, reinforcing the impression that New Ink art dominated the Hong Kong art scene in the sixties and seventies. When reviewing how Wong described Hong Kong art, and New Ink art in general, one would almost be tempted to link those qualities with Hong Kong s political identity. Wong also relies heavily on the East-West dichotomy to explain features of Hong Kong art, this is particularly evident when one examines the 1972 Contemporary Hong Kong Art exhibition catalogue, Hong Kong, he says, is the frontier of East-West cultural interfusion which, although causing harmonies as well as disharmonies, shapes the environment and gradually becomes the spirit and strength of Hong Kong art as we see it today. 113 Perhaps it would even be true that Wong took pride in Hong Kong art being, in his words, neither Chinese nor Western and at the same time Chinese and also 110 Ibid. 111 Ibid., Ibid. 113 Contemporary Hong Kong art 1972 一九七二年當代香港藝術展覽, (Hong Kong: Urban Council, 1972), introduction. 65

70 Western. 114 As Frank Vigneron has noted, this East meets West stereotype is an old cliché stemmed from the colonial notion of East versus West dichotomy, first studied in detail by the founder of post-colonial studies, Edward Said, in his book Orientalism. 115 Turner believes this East meets West myth was necessary to Hong Kong, a society that had little legitimacy and a hybrid culture, to provide proof for its perceived uniqueness. 116 As Turner remarks, Hong Kong s cultural identity during the sixties emerged from a clash of discourses citizen and compatriot, Chinese and Western, morality and utilitarianism. 117 Whilst Wong constantly invoked this East-West stereotype to present Hong Kong art in the seventies, he also realised this is one of the problems that Hong Kong artists were facing at that time. In his writings he often presents New Ink Art as the optimal style for Hong Kong artists to acknowledge Hong Kong s hybrid condition and create something anew. At the same time he consciously differentiates New Ink art from the traditional guohua, a painting style that Lui Shou-kwan and him denounced as a distorted eight-legged style and shadows of the past. 118 Lui s New Ink experiment aspired to become a modern continuation of the artistic experiments that sought to integrate Western painting styles to the national art in Shanghai during the 1920s and 1930s. 119 The traditions Lui advocated was abstract and based on, Eva Man observes, recognisably Chinese painting 114 The original Chinese phrase, 非中非西, 亦中亦西, is the title of an article Wong wrote for an exhibition of his recent works in Frank Vigneron, I like Hong Kong: Art and Deterritorialization, (Hong Kong: The Chinese University Press, 2010), Turner, 60s/90s: Dissolving the People, Turner, 60s/90s: Dissolving the People, Lau, The Study of Hong Kong s New Ink Movement, 3. Original quote: 呂壽琨和王無邪提出水墨畫觀念的共同動機都在於, 把水墨畫跟 國畫 區別出來, 因為後者是 腐化的八股形式 和 代表了過去傳统的影子 119 David Clarke, Hong Kong Art: Culture and Decolonization, (Hong Kong: Hong Kong University Press, 2001),

71 tools and materials that carry a particularly strong flavour of tradition and thus create a sense of cultural continuity. 120 In a 2001 essay Crossing the boundaries in Ink 121, Wong praises New Ink Art can serve as a linkage to the thousands of Chinese painting traditions and at the same time incorporate new vocabularies to display modern spirit, be a metaphor of Eastern origin, yet not bounded by painting medium exclusively used by the East. 122 When viewed from this perspective, New Ink Art is an adaptable art form that can signify Eastern identity without being entirely Eastern and thus sacrificing its individuality that Hong Kong artists so required. It should be noted by Eastern Wong practically meant traditional Chinese. It is interesting that New Ink art s pursuit of individuality and unique-ness somehow mirrored Hong Kong s cultural and political identity in the sense they are neither entirely Eastern (Chinese) nor Western (British). Indeed, the rhetoric of East meets West was employed by the Colonial Government as early as 1960: at the foundation ceremony of the City Hall, Sir Robert Black said Hong Kong was uniquely placed to bring together the cultures of East and West and that the new City Hall was hoped to bring exhibitions of arts connected with literature and painting both Chinese and Western. 123 This Hong Kong as a meeting point of East and West narrative was useful to the Government to avoid triggering identity problem on nationality whilst at the same time consciously separating Hong Kong from the East (China) and the 120 Man, A Museum of Hybridity, Zhang, Collection of Essays by Wucius Wong, Ibid., Original quote: 水墨畫之涵有東方性暗示, 與 國畫 不同, 國畫 是定了型的東方性繪畫, 水墨畫則意味獨創的精神 123 Speech by Sir Robert Black at City Hall Foundation Ceremony, February 1960, from City Hall , 1982, as quoted in Turner, 60s/90s: Dissolving the People,

72 West (Great Britain). Indeed earlier exhibitions around 1967 and 1969 praised the variety and diversity in art as the vitality of Hong Kong art, as mentioned in the second chapter. Also, scholar Philip Robertson has studied the documentary films produced by the Government Information Services in the sixties from a perspective of film and cultural studies, and found that the Colonial Government legitimised its governance by claiming to bring modernity to the Colony. Indeed, the Colonial Government adopted the theme of Enjoyment and Enterprise through Harmony for the Hong Kong Pavilion in the 70 Osaka Expo. In the pavilion, images for Girl in the Crowd, a fictional story of a young Chinese woman in the Colony played by Chan Mei-ching, were displayed. 124 It was a story of how an ex-fisherwoman was transformed by Western training and practice to become an attractive women working in a factory, in a short, slim dress. 125 Modernity and progress were promoted by the Colonial Government as the result of Hong Kong s interfusion of Eastern and Western qualities and its hybrid condition. Artist and scholar Lee Chun-yi attempts to provide an alternative understanding of New Ink art by analysing it from a post-colonial perspective, and argues New Ink art was a visual representation of Hong Kong s third space identity, as New Ink was deliberately distinguishing itself from the Chinese traditionalist narratives and the Western modernist narrative. 126 The concept of third space is proposed by Homi Bhabha, a prominent figure 124 Turner and Ngan, Hong Kong Sixties: Designing Identity, Ibid. 126 Lee, Chun-yi 李君毅 ed, Xiang gang xian dai shui mo wen xuan 香港現代水墨畫文選 (An Anthology of Hong Kong Modern Ink Painting), (Hong Kong Modern Chinese Ink Painting Association 香港現代水墨畫協會, 2001),

73 in post-colonial studies. Third space does not denote an actual physical space but rather a conceptual cultural space of a colonised group that exists between the traditional culture it once belonged to and the colonial culture, the culture of the politically dominant group in the society. 127 The culture in the third space maintains its individuality by consciously resisting or absorbing influences from both cultures. Lee believes this notion of inbetween-ness is an inherent quality of New Ink art, a characteristic that sets itself apart from both traditional Chinese culture, the culture of its Chinese population, and Western culture, the coloniser s culture. Eva Man holds a similar view in that the localisation policy and cultural democracy implemented by the Colonial Government after the Leftist Riot in 1967 intended to promote an image of modern Hong Kong as a third space. 128 David Clarke also argues the City Art Gallery s institutional privileging to New Ink art was likely due to New Ink art s apolitical way of combining Chinese and Western styles which made it amenable to use as civic ideology. 129 This also fits the popular imagination of the Colony s cultural identity: a rejection of identification with Mainland China, which Turner describes as a culture of diaspora, in which multiple norms, values and forms of behavioural [ ] could be syncretically overlaid or hybridised. 130 It seems the New Ink Movement s radical intention to reinterpret and reinvent traditions and combine Western elements to show signs of modernity were compatible with the Colonial Government s attempt in creating an image of modern Hong Kong which was founded on the East-West 127 Eva Man provides a more comprehensive understanding of the term third space, in her words: the colonised group is caught between the traditional culture to which it had once belonged and the colonial culture. Please see Man. Experimental Painting and Painting Theories in Colonial Hong Kong ( ), Man, A Museum of Hybridity, Clarke, Varieties of Cultural Hybridity, Turner, 60s/90s: Dissolving the People,

74 cliché. It is possible New Ink art was singled out for support by the Colonial Government as a form of soft propaganda to transmit the vaguely defined, dubious Hong Kong identity that is built on the East-West hybridity. Apart from that, as previously mentioned, the youth in the Colony were incited by the leftist groups in the Colony to become supporting forces of anti-colonial-government political activities in the sixties. A more direct way for the Colonial Government to undermine the influence of the leftist groups in the Colony would be to avoid supporting any leftist elements in the Colony altogether and provide support to their opposing side instead. In a 1998 article entitled The Maturation and Coming of Age of Hong Kong Art, Wong recounts there were leftist artists and non-leftist artists in Hong Kong since the fifties. Leftists were pro-communist supporters whereas its opposite camp, the rightists, was pro-nationalist supporters. 131 The leftist artists supported and practiced the realist style promoted by the Communist regime on the mainland. Some of the more famous examples include Yu Ben [ 余本 ] and Wong Po-yeh. 132 Non-leftist artists were greater in number and included key figures of the Lingnan School such as Chao Shao-an and Yang Shan-shen [ 楊善深 ], as well as other prominent artists such as Ding Yan-yong [ 丁衍庸 ], Kwong Yeuting and Lui Shou-kwan. Cheung suggests that the Colonial Government chose to promote 131 Zhang, Collection of Essays by Wucius Wong, This is also observed by Cheung Wai-yee, see Cheung, A Study on Art Societies in Hong Kong,

75 artists such as Wucius Wong, Lui Shou-kwan and Cheung Yee because they were attempting to reinterpret and modernise Chinese art traditions, and could somehow act as a counterforce to the traditional guohua artists and groups for instance Wong Po-yeh and his Geng Zi Art Association [ 庚子畫會 ], which had close connection with the art scene in Mainland China and thus a reasonably higher likelihood in becoming a political threat to the Colonial Government. 133 Other than combating pro-left ideology, Cheung proposes the promotion of modernism created also an impression of modernisation and internationalisation for the Colony, 134 which was compatible to the Colonial Government s deliberate attempt in establishing a modern Hong Kong image. Cheung notes the Hong Kong art scene in the eighties was characterised by Lingnan School s return in exhibition at the Museum of Art, this might be the Colonial Government s continuous effort to promote non-leftist artists in the eighties even after New Ink art went out of favour Ibid. 134 Ibid., Ibid.,

76 Conclusion This paper has discussed the emergence of New Ink art, first its process of how it attained canonical status in the history of Hong Kong art through exhibitions organised when New Ink artist Wucius Wong was its top authority, the Assistant Curator. After researching exhibitions as early as 1962 and as late as 1975, it is found that the notion of Hong Kong art had gradually changed from being dominated by Western paintings to Chinese ink paintings, as exemplified by the rise of the Chinese Inks section in exhibitions in the late sixties and in particular New Ink. This research also reveals that Wucius Wong s contemporaries, artists trained by Lui Shou-kwan had a higher frequency of being included in exhibitions throughout the late sixties and early seventies. By the midseventies, with much more exposure in public exhibitions than other artists, artists of the New Ink Movement were shaped as the mainstream Contemporary Hong Kong art and became the face of Hong Kong s artistic identity. After revealing how the City Art Gallery contributed to the New Ink Movement s rise to fame in the late sixties and early seventies, next this paper explores the connection between the City Art Gallery, the emergence of New Ink art and politics. Some of the characteristics of New Ink art were examined in an attempt to find out the relation between New Ink art and the Hong-Kong-ness the Colonial Government tried to promote through multiple cultural events and administrative reforms after a months-long riot incited by the leftists in the Colony to shaken the rule of the British Colonial Government in This 72

77 paper reviewed the socio-political condition of the time, the Colonial Government s propaganda programme, and Wucius Wong s writings on the characteristics of New Ink art and Hong Kong art in general and argues that New Ink art s attempt to mix and reinterpret traditional Chinese art with aesthetic elements from Euro-American modern art movements made it politically amendable to the Colonial Government s articulation of a modern Hong Kong image and establishment of community pride based on the East meets West stereotype, as well as a means to suppress the influence of leftist groups in the Colony to prevent citizens from being recruited by to incite more anti-colonial-government activities in the Colony. This study has demonstrated the emergence of the New Ink movement was not necessarily solely an accident credit to a few genius artists and their outstanding artistic achievement as traditional art-historical approaches would suggest it could have been a practical decision to undermine the leftist groups popularity and operation in the Colony. It should be noted it is not the intention of this study to depreciate New Ink art s inherent artistic values, nor does this paper intend to simply dismiss the emergence of New Ink art as artificial. This study intends to provide an alternative perspective to understand the development of New Ink art as well as the political history of Hong Kong, and call attention to the power of art museums in affecting our perception of history and identity. The M+ Museum, scheduled to open in 2018, is Hong Kong s latest and one of the most ambitious cultural projects in recent years to promote Hong Kong s visual culture, and 73

78 New Ink art is no doubt part of the visual culture that M+ intends to showcase. M+ reports its core aims is to document the past, inform the present and contribute to the future of visual culture and the Museum will take an inter-disciplinary approach and creates a meeting point for a diversity of perspectives, narratives and audiences 136. This study has explored the connection between art, art museum and politics how museum shape our perception of history and how could politics stir and influence this process. This paper wishes to end with a sceptical note on the M+ Museum s noble mission and its power to shape the history and identity of Hong Kong s visual culture in future. 136 About M+, West Kowloon Cultural District, Accessed May 13, 2015, 74

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86 Appendix Appendix A Complete table of exhibitions organized by the City Art Gallery / Museum of Art from 1962 to 1989 Red ones are related to Contemporary Hong Kong art Blue ones are related to the Lingnan School Modern Sculptures of Barbara Hepworth 1962 Paintings from the Government Collection 1962 Hoffnung's Cartoons 1962 Chang Da-chien Exhibition 1962 Looking at Birds by Eric Hosking 1962 Hong Kong Art Today 1962 Round the World in 60 prints 1962 Graphic Illustration 1962 French Black & White Prints of the 20th Century 1962 Travel Sketches by H.G. Hollmann 1962 Japanese Children's Art 1962 The Camera Looks at London 1962 International Artists' Prints 1962 The Architecture of Frank Lloyd Wright An Exhibition of Original Lithographs, Etching, Woodcuts by Leading 1962 Contemporary Artists 1962 Hong Kong Stamp Centenary Exhibition 1962 The Sunday Pictorial Exhibition of Children's Art 1962 Children's Art from Britain Chinese New Year Wood-block Prints 1963 Otto Eglau's Etchings: Drawings & Watercolours 1963 The Wonderful World of Colour (Photography) 1963 Japanese Woodblock Prints Modern British Graphic Work 82

87 1963 Hong Kong Old Coins Discovered in N.T Children's Art from Japan 1963 Paintings by Douglas Bland 1963 Hong Kong Children's Art Exhibition th Salon Photographic Exhibition J.M.W. Turner Watercolours 1964 German Painting of the 20th Century (in Reproduction) 1964 Kew Botanic Gardens 1964 French & British Posters 1964 Collection of Works by Local Artists 1964 Shakespeare Quarter centenary Exhibition 1964 Paintings from the Permanent Collection 1964 A Century of Hong Kong ( ) 1964 Recent British Sculpture 1964 Exhibition of Recent Work by Cheung Yee 1964 Lui Shou-kwan 1964 Children's Art from Hong Kong Schools Contemporary Indian Paintings 1964 Local Archaeology United States Print-makers 1965 Su Liu Peng Exhibition 1965 George Chinnery Exhibition 1965 British Watercolours & Drawings of the Twentieth Century 1965 Tung Collection of Paintings 1965 Henry Moore Exhibition of Sculptures, Photographs, Reproductions 1965 Contemporary Art in Asia 1965 Fan Paintings of the Ming Dynasty 1965 American Handicrafts - "Fiber, Clay & Metal" 1965 Ceramic Display 1965 Children's Art Exhibition Julia Baron Exhibition 1966 Experiment - Photographic Exhibition 1966 English Domestic Silver 83

88 1966 Michael Griffith - Scuptures, Paintings, Drawings 1966 Oil Paintings and Prints by Kwong Yeu Ting 1966 Homo Legers 1966 Art Gallery Collection of Paintings by Local Artists 1966 Pictures from the Chater Collection 1966 Ceramic Display (new arrangement) 1966 Paintings & Calligraphy by Su Jen-shan 1966 Exhibition of Paintings, Calligraphy and Porcelain of the Ming Period Ceramic Display (re-open) Da Vinci to Sputnik: The Qantas Collection of Models of the Great 1966 Breakthroughs in Flight The City Hall Art Gallery's Collection of Paintings and Sculptures by Local 1966 Artists Advertising Design: U.S.A th Century Japanese Prints 1967 The Blue Rider 1967 Reproductions of Early Chinese Paintings 1967 Rubbings of Han Period Stone Carvings 1967 Music & Fine Arts in Hong Kong 1967 Fine Arts Exhibition 1967 Ceramic Display (re-open) 1967 Contemporary American Prints 1967 Contemporary Asian Prints 1967 Hong Kong Currency 1967 Hong Kong through the Years: Press Pictures of the Year 1967 Historical Pictures and Prints from the Law & Sayer Collection Traditional & Modern Maori Art 1968 The Artists' Eye of Hong Kong 1968 Fu Pao-shih 1968 The Artists' Eye of Macao 1968 The Circle Group - Exhibition of Paintings and Sculpture 1968 Decorative Posters of Today 1968 The Art of Angkor 1968 Travel Posters of the World 1968 World Exhibition of Photography 84

89 Models & Sketches for Sculpture 1969 Wong Po Yeh 1969 Prints, Drawings and Ink Paintings by Hong Kong Artists 1969 Things Seen, Things Felt, An American Poster Happening 1969 Children's Art Exhibition Design: The Beginnings 1969 Fifteen Artists from Berlin 1969 Exhibition of Contemporary Hong Kong Art Henry Moore Exhibition 1970 Recent Prints by British Artists Prints of the "School of Paris" 1970 Exhibition of Paintings of the Ming & Ching Periods Years Ago - A Picture-story of Hong Kong in A Han Tomb in Lei Cheng Uk 1970 Ho Tung Collection of Oil Paintings &Watercolours 1970 Young Painters of Hong Kong 1970 Four Hong Kong Artists - KWONG Yeu-ting, Douglas Bland, LUI Shou-kwan 1970 and CHEUNG Yee Madhubani Folk Paintings from India 1971 Contemporary Hong Kong Art Chinese Antiquities & Temporary Display of Transitional Porcelain 1971 Paintings & Calligraphy Han Inscriptions(Rubbings) 1971 Design Archaeology in Hong Kong 1971 Children's Art Exhibition Durer and His Times 1971 Kwangtung, Macao and Hong Kong Currency Contemporary French Prints 1972 Excavation on Lamma Island Site History of Chinese Calligraphy 1972 Contemporary Australian Prints 1972 Exhibition of Paintings, Sculptures and Prints by Members of the ISPAA 85

90 1972 Art Now Hong Kong 1972 A Decade of Children's Pictures 1972 Contemporary Hong Kong Art Hong Kong - The Changing Scene (Photographic Exhibition) 1972 Graphics Now! USA 1972 Father Raphael Maglioni's Archaeological Finds in South China 1972 Foundations for Art & Design 1972 Historical Paintings of China, Hong Kong and Macau 1972 The Impressionists 1972 The Post-Impressionists Chinese Paper-cuttings 1973 Contemporary French Tapestries 1973 Indian Miniatures 1973 Contemporary Prints by Chinese Artists 1973 Graphic Art in Germany Today 1973 Vienna School of Fantastic Realism 1973 Contemporary French Art Photographs 1973 History of Chinese Calligraphy 1973 Seventh Children's Art Exhibition 1973 Ch'i Pai Shih: An Exhibition of His Painting, Calligraphy and Seal-carving 1973 Fabric Vibrations 1973 Old Views of Hong Kong 1973 Kwangtung Painting "Woman": Second World Exhibition of Photography 1974 A Century of Chinese Painting 1974 Chinese Puppets 1974 Modern Decorative Arts of Japan 1974 Early Man at Work (Part of Museum) 1974 Picasso - Original Prints Luis Chan - Retrospective Exhibition of Watercolour Hon Chi Fun - Paintings and Prints Contemporary Italian Sculpture 1974 The World Through Posters 1974 Surface in Art 86

91 1974 Collection of Contemporary Art 1974 Selected Finds from the Han Tomb at Lei Cheng Uk 1974 Shelter Sketch Book - Drawings by Henry Moore Chinese Blue & White Porcelain 1975 Contemporary Hong Kong Art th Century Drawings & Watercolours 1975 Calligraphy by So Sai Kit 1975 Foreign Artists in China 1975 Paintings by Chinese Artists 1975 Sung Ceramics 1975 Graphic Art by Eskimos of Canada 1975 Bramante - Architect of the Renaissance 1975 Display of Ch'ing Porcelain 1975 Animals & Birds in Chinese Paintings 1975 Ming Ceramics 1975 Video Art 1975 Creative America: Ceramics Sculpture 1975 Han Pottery 1975 Folk Crafts of the Middle Kingdom 1975 T'ang Pottery Tingqua - Paintings from His Studio 1976 Thirty-six Views of Mt. Fuji 1976 The World of Douglas Bland 1976 Ling-nam Painting - 17th to mid-20th Century 1976 China Trade Painting Years of Acrylic and Oil Paintings in Hong Kong 1976 Exhibition of Works by Urban Council Art Award Winners The World of Lui Shou Kwan 1976 Modern Prints by Chinese Artists 1976 International Children's Art Monochrome Ceramics of Ming and Ching Dynasties 1977 Fan Paintings by Late Ch'ing Shanghai Masters 1977 Austria Presents Hundertwasser to the Continents 1977 Contemporary German Art: Woodcuts, Etchings and Lithographs 87

92 1977 Blue & White Porcelain of Ming & Ch'ing Dynasties 1977 South East Asian Wares Kwangtung Paintings 1977 Historical Paintings - Hong Kong, Macau & Canton 1977 Contemporary Hong Kong Art Ukiyo-e Woodblock Prints 1977 Shek-wan Pottery 1977 Chinese Snuff Bottles 1977 Recent Acquisition Ming & Ch'ing Porcelain from the Collection of the TY Chao Family Foundation 1978 Kwangtung Calligraphy 1978 Cheung Yee Sculptures, Prints, Drawings 1978 Chinese Ceramic Art from Han to Ch'ing Dynasties 1978 Leung Kui Ting: Paintings, Drawings, Prints 1978 Hong Kong Artists: The Early Generation 1978 The Art of Kao Chien-fu 1978 Kwong Yeu Ting: Paintings, Prints, Drawings 1978 Pictures of the Floating World: Prints by Leading Masters 1978 Chinese Bamboo Carving 1978 Snuff Bottles of the Ch'ing Dynasty 1978 Japanese Calligraphy & Ikebana 1978 Exhibition of Works by Urban Council Art Award Winners South-east Asian & Chinese Trade Pottery 1979 The Art of Chao Shao-an 1979 Chinese Bronzes and Enamelled Wares 1979 Contemporary French Lithographs 1979 Chinese Lacquer 1979 Koo Tsin-yaw: Painting, Calligraphy, Seal Carving 1979 Selected Shek-wan Pottery 1979 Exhibition of Paintings, Drawings and Prints by Wucius Wong 1979 Contemporary Hong Kong Art Biennial Exhibition Contemporary Japanese Painting 1979 Cybernetic Art of TSAI Wen Ying 88

93 Their Joyful Moments: Hong Kong Children's Art Exhibition for the International 1979 Year of the Child 1980 Chinese Antiquities: 2000 Years of Chinese Ceramics from Han to Ching 1980 Dynasty 1980 Hong Kong the Changing Scene : A Record in Art 1980 Daily Life in France : Original Press Lithographs by Honore Daumier 1980 Fung Hong-hou: Calligraphy, Painting, Seal Carving 1980 Colour in British Painting 1980 Chinese Metal Craft 1980 Ming & Qing Porcelain 1980 A Selection of Museum Acqusitions 1980 Six Masters of Early Qing and their Followers 1980 Contemporary Philippine Art 1980 An Anthology of Chinese Ceramics 1980 Contemporary Singapore Painting 1980 The Art of Chen Shuren 1980 Urban Council Fine Art Award Winners Transitional Wares and Their Forerunners 1981 Pearl River in the Nineteenth Century 1981 Chinese Antiquities 1981 Eduardo Paolozzi: Sculptures, Drawings, Prints 1981 The Art of Yang Shen-sum 1981 Hong Kong Art Contemporary Hong Kong Art Biennial Exhibition Yixing Pottery 1981 Contemporary Bangladesh Art 1981 The Art of Gao Qifeng 1981 Early Chinese Ceramics Guangdong Calligraphy 1982 Walter Gropius: Buildings, Plans, Projects ( ) 1982 The Chinese Response - Paintings by Leading Overseas Artists 1982 Chinese Bamboo Carving 1982 British Drawings & Watercolours 89

94 1982 Late Qing China Trade Paintings 1982 S. E. Asian Wares 1982 Contemporary Vision of Landscape 1982 Sculptures from Thailand 1982 Japanese Contemporary Pottery 1982 Danish Posters 1982 Portuguese Woodcarvings 1982 Picasso - In time S. E. Asian Wares 1983 Urban Council Fine Arts Award Winners Ancient Chinese Bronzes in the Collection of the Shanghai Museum 1983 In the Footsteps of Buddha 1983 Third Commonwealth Photography Exhibition 1983 Early Masters of the Lingnan School Gems of Chinese Art from the Asian Art Museum of San Francisco, The Avery 1983 Brundage Collection 1983 Ming & Qing Ceramics 1983 New American Paperworks 1983 Scenes of Two Cities : Hong Kong & Macau 1983 Chinese Jade Carving 1983 Contemporary Hong Kong Art Biennial Exhibition Contemporary Hong Kong Prints Interaction in Ceramics: Oriental Porcelain & Delftware 1984 Chinese Teaware 1984 Twenthieth Century Chinese Paintings 1984 Contemporary Open Air Sculpture Exhibition(Piazza of the HK Coliseum) 1984 Bird & Flower in Chinese Antiquities 1984 Hong Kong Pottery Today 1984 Guangdong Paintings - Museum New Collection 1984 Hong Kong Children's Art Exhibition 1984 New American Porcelain 1984 Fabric and Form - New Textile Art from Britain 1984 The Art of Chinese Bamboo Carvings 1984 Purple Clay Wares of Yixing 90

95 1984 Luis Chan - Fifty Years of Artistic Career 1984 Pre-Raphaelite Art from the Birmingham Museum & Art Gallery 1984 Hong Kong Design Exhibition 1984 The Wonders of the Potter's Palette: Qing Ceramics from the Collection of the 1984 Hong Kong Museum of Art 1984 Urban Council Fine Art Award Winners 1985 Landscape in Chinese Antiquities from the Collection of the Hong Kong Museum 1985 of Art 1985 Portuguese Tiles: 15th-20th Century 1985 George Chinnery - His Pupils & Influence 1985 Chinese Tea Drinking 1985 Decorative Motifs in Chinese Art 1985 Contemporary Australian Ceramics 1985 Hong Kong 1985 International Youth Year Poster Design Exhibition 1985 Kagoshima Children's Art Exhibition 1985 City Hall in My Eyes: A Drawing/Painting Competition for Children 1985 Contemporary Hong Kong Art Biennial Exhibition Anthology of Chinese Art: Min Chiu Society Silver Jubilee Exhibition 1985 Contemporary Japanese Crafts Purple Clay Wares of Yixing 1986 The Art of Henry Moore 1986 A Gentleman's Companion 1986 From the Realm of the Luminous: Art Relics of the Ming Dynasty My Impression: The Art of Henry Moore in Hong Kong - An Exhibition of 1986 Pupils' Pictures 1986 Chinese Export Watercolours 1986 The Grandeur of the Chinese Empire Art of the Han & Tang Dynasties 1986 Purple Clay Wares of Yixing 1986 Urban Council Fine Arts Award Winners Poetry through Material, Light and Movement History Lore and Legend - Shiwan Pottery Figures Donated by Mr. Woo Kam Chiu 1986 The Elegant Brush - Chinese Paintings under the Qianlong Emperor

96 1986 Tea Wares by Hong Kong Potters Contemporary Art from the Frederick R. Weisman Collection Chinese Antiquities from the Brian S. McElney Collection 1987 The Art of Van Lau 1987 Water-pot, Wine-pot and Teapot 1987 Modern Art from the Collection of Mary & George Bloch 1987 Gateways to China: Trading Ports of the 18th &19th Centuries 1987 Chinese Antiques - Collection from the Hong Kong Museum of Art The Transforming Age - 20th Century Chinese Painting from the Collection of 1987 the Museum of Art 1987 Yixing Tea Ware of the Qing Period 1987 Ink Painting of Hong Kong Artists 1987 Contemporary Hong Kong Art Biennial Exhibition Chinese Porcelain: The S.C. Ko Tianminlou Collection Then and Now: American Portraits of the Past Century from the National Portrait 1987 Gallery, Washington, D.C Glaze Colours 1988 Summer in Hong Kong: An Exhibition of Pupils' Paintings 1988 Ink Paintings by Hong Kong Artists (UK) 1988 The Art of Xu Beihong 1988 Chinese Cloisonne: The Clague Collection 1988 Innovations in Contemporary Yixing Pottery 1988 Spaces and Places - Eight Decades of Landscape Painting in Alberta 1988 Contemporary Hong Kong Pottery - from the Collection of the Museum of Art 1988 Urban Council Fine Arts Award Winners Shiwan Pottery - Donation from Mrs. Kwok On Japanese Quest for a New Vision: The Impact of Visiting Chinese Painters Ink Paintings by Hong Kong Artists (Sheung Wan Civic Centre) Power & Gold - Jewellery from Indonesia, Malaysia& the Philippines 1989 The Sculpture Walk, Kowloon Park 1989 Floral Deities 92

97 1989 Calligraphy & Seal-carving of Jianqinzhai -Donation from Mr. Wong Hon Kiu Imperial Porcelain of the Yongle and Xuande Periods Excavated from the Site of 1989 Ming Imperial Factory at Jingdezhen 1989 The Reader's Digest: Collection of Modern Masters 1989 Views from Jade Terrace : Chinese Women Artists ( ) 1989 Tea Wares by Hong Kong Potters Contemporary Open-air Sculptures of Hong Kong Vision of Cathay : Pictures of China by Western & Chinese Artists in the 18th & th Centuries 1989 Chinese Glass of the Qing Dynasty 1989 Contemporary Hong Kong Art Biennial Exhibition Chinese Traditional Performances 1989 Artists & Art - Contemporary Chinese Paintings Chinese Export Porcelain: Chine de Commande from the Royal Museums of Art 1989 and History in Brussels 93

98 Appendix B Exhibition data compiled for exhibitions from Year Chinese Title English Title Curator/s Involved Panel of Judges 1967 July 一九六七年香港音樂美術節 Music & Fine Arts in Hong Kong 1967 Fine Arts Exhibition Organiser/s: City Hall Artists Participated in Chinese Inks Section 新水墨畫會未成立 Total Number of Works: 148 Artists: 106 Paintings (Oil, Acrylic, etc.) 33 Artists 48 Entries Paintings (Chinese Inks) 26 Artists 31 Entries Sculptures & Ceramics 12 Artists 17 Entries Prints & Monotypes 14 Artists 24 Entries Drawings & Watercolors 9 Artists 16 Entries Chinese Calligraphy 12 Artists 12 Entries English name Butt, Evelyn Chan Chiu-yin Chang, Constance Cheng Din-ming Cheung Shu-sun Chow, Johnson Ho Tao Kan Kit-keung Lam Kei-hoi Lam Jik-jun Lam Tak-ming Lau, Alexander Lee, Jerry Lee Yun-woon Leung Pak-yu Leung Yip-kwun Lin Jen-tung Lui Shou-kwan Ng Ku-hung Ng Yop-ching Tong King-pun, Jim Wai Fai-sing Wu Yue-kee Wong Pang-yok Wong Sik-yee Wong, Wucius Chinese name 崔鎰陳秋言章尚璞鄭電明張樹新周士心何弢 ( 建築師 ) 靳杰強 ( 存疑 ) 林紀凱林質錚林德銘劉秋父李中展李潤桓粱伯譽粱業坤 ( 今畫會 ) 林建同呂壽琨吳孤鴻 ( 存疑 ) 伍揖青唐景彬 ( 建築師 ) 韋輝成胡宇基 ( 今畫會 ) 黃般若黃碩瑜 ( 錫儒 ) 傳統水墨 / 其他 14/26 陳秋言章尚璞周士心林紀凱林質錚林德銘李潤桓粱業坤 ( 今畫會 ) 林建同伍揖青胡宇基 ( 今畫會 ) 黃般若粱伯譽黃碩瑜 ( 錫儒 ) 新 / 現代水墨 6/26 張樹新靳杰強 ( 存疑 ) 吳孤鴻 ( 存疑 ) 王無邪崔鎰呂壽琨 暫無資料 4/26 94

99 王無邪 鄭電明劉秋父李中展韋輝成 其他 2/26 何弢 ( 建築師 ) 唐景彬 ( 建築師 ) 95

100 Year Chinese Title English Title Curator/s Involved Panel of Judges 1969 當代香港藝術 Contemporary Hong Kong Art J. C. Y. Watt ( 屈志仁 ) Assistant Curator Cheung Yee 張義 Ho Tao 何弢 Pierre Ryckmans 李克曼 J. C. Y. Watt 屈志仁 (in attandance) W. C. K. Wong 王無邪 (in attandance) Total: 129 Paintings (Oil, Acrylic, etc.) 35 Artists 39 Entries Chinese Inks 36 Artists 40 Entries Sculptures 13 Artists 20 Entries Prints 19 Artists 25 Entries Drawings, Watercolors, Collages 15 Artists 19 Entries Chinese Calligraphy 11 Artists 11 Entries Artists Participated in Chinese Inks Section English name Butt, Evelyn Chan Ping-kwong Chan Ping-yuon Chan Seung-ling Chan Yim-man Chan Tak Chang, Constance Chang Kar-wei Chow, Johnson Chow Lu-yun Chui Tze-hung Chui Tzu-ching Ho, Philip Pak-lee Hong, James Kan Kit-keung Lee Chee-cheung Leung But-yin Leung Pak-yu Leung So-ying Lee Kowk-fai Leong Chong-hin Leung Yip-kwan Lin Jen-tung Loo, D.T. (Mrs.) Lui Shou-kwan Ng Ku-hung Ng Lo-chuen Ng Yiu-chung Poon Wai-kong Shen Hsueh-man Tam, Lawrence C.S. Wong, Micy Wong, Viviane Chinese name 崔鎰陳丙光陳炳元 ( 中元畫會 ) 陳相玲陳棪文陳德 ( 可能是陳勉良 ) 章尚璞章家慧周士心周綠雲徐子雄崔自清何百里 ( 今畫會 ) 項永昌 ( 存疑 ) 靳杰強 ( 存疑 ) 李志章 ( 入會時間存疑 ) 粱不言粱伯譽粱素瀅李國輝粱仲憲粱業坤 ( 今畫會 ) 林建同譚曼于呂壽琨吳孤鴻 ( 存疑 ) 吳老泉吳耀忠潘偉光 靳杰強呂壽琨王德蓉汪弘輝 4 人各展出 2 幅作品, 其餘皆為一幅 96

101 Wong Wang-fai Wong Yuen-sum Yu Sai-kin 佘雪曼譚志成黃美斯王德蓉汪弘輝黃潤森余世堅 Excerpts from catalogue 1. For the first time in this series of exhibitions, the number of paintings in this category, which we group under the heading Chinese ink, is greater than that of oil paintings, even if the difference is only one. (Introduction) 分類 - 畫會 暫無資料 9/36 傳統水墨 / 水墨 11/36 元道畫會 7/36 一畫會 ( 未成立 ) 6/36 新 / 現代水墨, 無畫會 9/36 陳炳元 ( 中元畫會 ) 陳相玲崔自清粱仲憲吳老泉黃潤森潘偉光黃美斯王德蓉 陳丙光章尚璞周士心項永昌 ( 存疑 ) 李國輝林建同佘雪曼何百里 ( 今畫會 ) 粱業坤 ( 今畫會 ) 陳德 ( 可能是陳勉良 ) 粱伯譽 章家慧周綠雲吳耀忠譚志成汪弘輝譚曼于徐子雄 陳棪文周綠雲徐子雄李志章 ( 入會時間存疑 ) 粱不言粱素瀅 靳杰強 ( 存疑 ) 吳孤鴻 ( 存疑 ) 余世堅崔鎰呂壽琨 ( 七人畫會 ) 陳棪文李志章 ( 入會時間存疑 ) 粱不言粱素瀅 97

102 Year Chinese Title English Title Curator/s Involved Panel of Judges 1970 七零年代香港青年藝術家展 Young Painters of Hong Kong 1970 Artists 張樹新靳埭強梁巨廷周綠雲譚志成吳耀忠汪弘輝徐子雄 元道畫會周綠雲徐子雄吳耀忠譚志成汪弘輝 一畫會 (70 年 10 月成立 ) 周綠雲徐子雄靳埭強 ( 第 6 屆會長 ) 新. 現代水墨 / 無畫會梁巨廷張樹新張樹生靳埭強 ( 以上四人為中大校外設計班導師 ) 98

103 Year Chinese Title English Title Curator/s Involved Panel of Judges 1972 今日香港藝術 Art Now Hong Kong Organiser/s: City Museum and Art Gallery Hong Kong The exhibition was divided into three sections: 1) Ink Painting 6 Artists 2) Painting 5 Artists 3) Prints & Sculpture 6 Artists Artists: English name 1) Ink Paintings Leung Kui Ting Lu Shou-kwan Ng Yiu-chung Tam Chi-shing Laurence Wong Wang-fai Wong Po-yeh 2) Paintings Douglas Blend Kan Tai-keung Kwong Yeu-ting Gilbert Pan Wucius Wong 3) Prints & Sculpture Cheung Yee Ha Bik-chuen John Hadfield Hon Chi-fun Kwong Yeu-ting Van Lau Chinese name 粱巨廷呂壽琨 ( 顧問 ) 吳耀忠譚志成汪弘煇黃般若 白連靳埭強鄺耀鼎潘士超王無邪 ( 顧問 ) 張義夏碧泉夏德飛韓志勳鄺耀鼎文樓 中元畫會傳統水墨 / 水墨元道畫會一畫會無畫會 張義文樓韓志勳王無邪潘士超 黃般若 吳耀忠譚志成汪弘輝 呂壽琨 ( 顧問 ) 王無邪 ( 顧問 ) 粱巨廷 99

104 Year Chinese Title English Title Curator/s Involved Panel of Judges 1972 一九七二年當代香港藝術 Contemporary Hong Kong Art 1972 Wong, Wucius ( 王無邪 ) Assistant Curator Mr Hon Chi-fun ( 韓志勳 ) Mr Nigel Cameron ( 金馬倫 ) Mr Gunther Hollmann ( 荷爾曼 ) Artists Participated in Chinese Inks Section Paintings (Oil, Acrylic, etc.) 24 Artists 36 Entries Chinese Inks 18 Artists 19 Entries Sculptures 9 Artists 17 Entries Prints 17 Artists 23 Entries Drawings, Watercolors, Collages 17 Artists 31 Entries Chinese Calligraphy 10 Artists 14 Entries English name Butt, Evelyn Cheng Wei-kwok how Lu-yun Jat See-yeu Kan Kit-keung Lau Kam-yin Lee, Victor Lee Wai-on Leung So-ying Lui Sze-ki Lui Shou-kwan Mok Tat-wah Ng Yiu-chung Poon Chun-wah Tam, Lawrence C.S. Tse Cheong-wing Wong Man-lung Yu Tung-ching Chinese name 崔鎰鄭維國周綠雲翟仕堯靳杰強劉錦賢李其國李維安粱素瀅廖仕基呂壽琨莫達華吳耀忠潘振華譚志成謝昌榮黃文龍余冬青 元道畫會 3/18 李維安吳耀忠譚志成 一畫會 6/18 鄭維國周綠雲翟仕堯粱素瀅潘振華黃文龍 新. 現代水墨 / 無畫會 5/18 靳杰強劉錦賢李其國崔鎰呂壽琨 暫無資料 4/18 廖仕基莫達華謝昌榮余冬青 100

105 Appendix C Government documents referred to in the paper Committee Paper 17/4/62 101

106 Committee Paper 17/17/62 102

107 Committee paper MAG/5/65 103

108 Committee Paper 17/36/62 104

109 Committee paper 17/11/62 105

110 Committee paper MAG/24/67 106

111 Appendix B from a 1965 document 107

112 Appendix C from the 1965 document 108

113 Appendix F to a 1967 document 109

114 Committee paper MAG/20/67 110

115 Committee paper MAG/24/67 111