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書名

生活家說及策展人語

Book Title

LIFE ARTISTS: & CURATORS:

生活家說 LIFE ARTISTS:

目錄 Contents

題目 Title 頁數 Page

當我們真正遇上 Have we ever really met? 04

於荒誕中游弋的音符 / 鄧慧中：聖誕老人拜訪圖 Sounds absurd / Joyce Tang: 08 Santa Claus visiting my studio

讀懂 字在城市 / 世良田紀子：天書 More than words... / Serada Noriko: 12 A book from the sky

平行時空寫作 / 茹國烈：怒海浮沉 Of paths simultaneously travelled / Louis Yu: 16 Boat people on the sea

窗內的微學 / 陳慧姬 黎熾明：關聯昌畫室 A world in your hand / Maggie Chan & Tony Lai: The studio of Tingqua 20

記取我城的好 / 江嘉玲 江翠思：香港仔附近的瀑布 The name of my song / Gia Toscah Gonzales & Jessie Jireh Gonzales: Waterfall at Aberdeen, Hong Kong 24

今夜星光燦爛 / 不動明王：廣州十三商館大火 Lifting the veil / Vincent Cheng: Guangzhou foreign factories on fire 28

怦然心動的一片白 / 何浩源：雙燕 A life unscripted / Mill Ho: Two swallows 32

跟自己和好的藝術 / 邱誠武：松石圖 行草書七言詩 An expression of healing / Yau Shing-mu: Pines and rock & Poem in running-cursive script 36 題目 Title 頁數 Page

凡事幽微 凡物優美 / 關琬潼：烏賊 Shades of subtlety / Shadow Kwan: 50 Sepia

乘著咖啡豆在繞圈 / 張銳：大曲壺 An intangible grade / Horry Cheung: 54 Large teapot with ribbed decoration and overhead handle

青春招展 芳菲流動 / 梁曉端：五彩十二花神杯 Calendar of emotion / Melissa Leung: 58 Twelve cups with representing flowers of the months in wucai enamels

遇上1292分的自己 / 尹漢彥：青花螭龍纏枝牡丹紋瓶 Soul searching on the seventh strike / Wan Hon-yin: 62 Vase with chi dragon and peony scroll design in underglaze blue

後記 Epilogue

策聽，不策劃 / 毛詠仙 Listening • Non-curating / Cynthia Mo 68

策聽實驗室 Listening Lab 70

精采呈現 Manifestation 72

設計思考 / 黃毅之 Design Thinking / Edwin Wong 84

有趣又具意義的博物館營銷研究 / 蕭霍綺文博士 Museum marketing research is fun and meaningful / Dr. Noel Y.M. Siu 86

第 4 頁 Page 4

當我們真正遇上

還相信素昧平生的人與人可以交流嗎？

生活家 生活家是在自己的領域，有看法、有信念，努力耕耘的人。他們有些是社會成就指標之下沒甚麼特別的 人，有些甚至仍在學習或掙扎階段，有些卻已創下驕人成績，在某個位置發揮強而有力的職能。不過與 其他人不同，他們是一群拿掉了頭銜及工作後，不會甚麼都不是的人。因為他們都活在當下，懂生活為 何物。活得這麼講究這麼專，儼然是生活的老饕——所以稱為生活家。

館長和館藏 館長日常與藝術家和藝術品打交道，對自己管理的藏品，如數家珍；對自己策劃的展覽，如琢如磨。為 要帶來知識的增長、美學的砥礪；以藝術滋潤心靈，那怕只能打動一位路過者的神緒，甚或牽動整座城 市的注目。館長平時工作繁忙，卻特別看重與受眾溝通交流。

深聽 在籌備迎接香港藝術館回歸之時，我們設計一系列可參與活動，確立她於觀眾心中的位置。藝術館珍 惜與觀眾互動，也很想知道大家的看法和期望。於是我們策劃了一個聽的過程，先選出館藏中有代表 性的 12 件作品，由館長作深入的介紹；然後邀請 12 位來自不同背景的生活家，深度呼應。

經過多月的努力撮合，我們有了——亂步的音律賀聖誕老人拜訪，港產電影情迷能指所指，浮沉怒海 喚醒筆下溫柔，纖微匠心把記憶凝鑄，異鄉人對香港印象存檔，漫天星光媲美可買賣的歷史，剎那顧盼 與茲茲執念，墨客風骨隱隱療癒內省，精誠所至凡物皆可入畫，留名於世各自招呼演繹，舉手投足演活 花神風姿，發現人與器物皆需要被發現。

這實在是完全超乎我們原來的想象！我們初時以為生活家會就作品的特色、館長的闡釋，作出吻合的 呼應。殊不知他們以自己的生活和熱愛為中心，反客為主，倒轉來要作品呼應他們！多少次我們甚至 問：「那個回應關我的藏品甚麼事啊？」但在細忖箇中興味後，團隊來一個 180 度範式轉移：如果我 們仍自我中心，以供應者思維去執行這個過程，會得到一輪和應，卻是老生常談，了無新意。但當我們 放下框架，尊重他們所說的，有時在我們經驗範圍以外……那麼真正的平等達到了，真正的交流才展 開了。結果，是出人意表的有創意、多元、不拘一格的反饋。然後審視這群生活家的希冀與關懷，再問 問自己，我們要怎樣策展怎樣呈現，才可讓藏品關他們的事呢？

那，才是深聽的真締。

樂意透過這兩個材料：《策展人語》以及《生活家說》（書本及錄像），將這系列深聽的過程和結果， 與你分享。期待你和我們一樣被驚喜。還想告訴你，這只不過是我們策動聆聽的第一課，香港藝術館是 實驗的首個樣本，策聽團隊將繼續與不同的博物館協力，為博物館文化帶來改變，希望有你支持。

人與人真正交流多麼美好，但願博物館，可以扮演更多角色。 第 5 至 7 頁 Page 5 to 7 Have we ever really met?

There exists a communication beyond the physical world: our team is determined to find it.

Life Artist and the art of living Who is alive? We don’t need success, achievements or merits to our name to be truly alive; we simply need to be present. We do not need to be “special” to anyone but ourselves. We can attain high rank in society but it means nothing if we do not touch our daily life with some presence and surprise at our surroundings.

Curator and the curated We manage the treasures of the world, not the riches. The job of the curator is to step inside the mind of the city, to find and display not what will be “interesting” or worthy of a selfie, but what can nourish our soul. Will our visitors tell of the work they saw in a robotic rote; or will they explore quietly to themselves the feelings and passion our work aroused? It is heavy work.

Deep listening To welcome the return of the Hong Kong Museum of Art (HKMoA), we lent the city our ears. How does a gallery listen? The team selected a dozen representative works to be brought into an experimental sandbox: we then invited 12 Life Artists from all walks of life to experience the art with the aid of curators’ interpretation, to share their feelings for the work. We sought ordinary but outspoken critics, those who are passionate to reveal their feelings in public and who are eager to co- create.

Our experiment generated an archive of impressions beyond our imagination.

Listen to the curator: did you notice the tiny detail of the painting; did you know the true meaning of the magpie; do you know the history of this imperial Kiln? It is telling not listening. Our 12 “Life Artists” reversed our thinking, told us what to look for in the paintings, showed themselves experts in living art. Details or themes entirely unimportant to us professionals shook their lives, brought back powerful emotions, drove them to create new works.

The result is a diverse and eclectic feedback, outside our intellectual sphere… and as we examine the results, we ask ourselves, how can we better present our collections to respond? Can we inspire every visitor the same way?

We are delighted to publish the first fruits of our experiment for the public upon the opening of HKMoA. Here's a book inside a book, telling the inside story of the art. It’s a prototype but the genie is out of the bottle and our galleries will never be the same… we hope you enjoy this first taste of a new dialogue with your museum.

第 8 至 9 頁 Page 8 to 9

於荒誕中游弋的音符

小時候的我們，最希望收到甚麼聖誕禮物？如果有機會見到聖誕老人，又想跟他說甚麼？一連串的幻 想與期待，餵養出我們今天的樣子。想象，是平行時空的彼岸，想象，也是人類的原始信仰。

有一個聖誕老人，剛好從平行世界那端走來。「這幅畫的構圖和空間感都很有趣，初看它的圖片時覺 得很長很窄，直至看到真跡，才發現畫卷很寬很大，像一個魚缸。」作曲人鄧慧中（Joyce）所說 的，是香港藝術家陳福善的作品《聖誕老人拜訪圖》。這是畫家反思個人創作方向之後的嶄新嘗試， 利用超現實手法結合拼貼、拓印等西方藝術技巧，在中國傳統卷軸畫的空間裡，表現出聖誕節普天同 慶的熱鬧氣氛，畫中人物大都呈扭曲荒誕之姿。而當中最吸引 Joyce 注意的，是一尾在派對出現的熱 帶魚。

「《聖誕老人拜訪圖》令我聯想到香港。細看畫的空間和畫中爬行的人，彷彿訴說著這樣的一個故 事︰這個城市狹窄，而且縱橫交錯，挑戰重重，如此的環境，我們卻都能適應生存。」香港的故事迂 迴曲折，或難以文字描述，何不以音符加入設身處地的環境聲音來表達？Joyce 聯同六名音樂學友： 陳庭章、周肇軒、許諾言、蘇陶、余梓朗和翁聲雅，創作一段又一段混合了聲景的音樂，來演繹對這 畫作的讀後感。「聆聽是音樂家的本分，我們希望以聲景音樂來述說香港的故事，聽聽她怎樣從漁港 變成金融中心，《觀漁聽港》就是我們的嘗試。」Joyce 說，想象演出的場地是一個大魚缸，配合畫 中不知名的熱帶魚，作曲人一邊譜奏音樂、一邊像魚兒游動，化作為香港故事的前奏。

想象自身異變成魚，很難不想起卡夫卡《變形記》的故事。男主角一覺醒來，發現自己變成了甲蟲， 一下子變成被人唾棄的負擔。這是二十世紀最偉大的荒誕派文學作品之一，荒誕想象不獨是對抗機械 生活的手段，更是藝術家面對生命虛無的抗衡。「以前我創作音樂，總覺得完整性是必須的。直至遇 上 2039 厘米長的《聖誕老人拜訪圖》，細看畫作結尾的地方，已忘了畫的開端是甚麼，忽然想到， 整齊的首尾呼應不一定是創作的公式，即興地實驗也可能是有效方法。」隨興而為，行動優先，更加 無拘無束地思想、創作，陳福善對 Joyce 的啟發，同樣即興，始料未及。

鄧慧中 鄧氏於 2017 年獲頒亞洲文化協會藝術交流獎助。她獲得哲學博士學位，主修音樂學；亦為文學碩士 （作曲）和哲學碩士（電子音樂）。她現於香港大學和香港演藝學院任教，作品曾在世界各地發表及 廣播。

第 10 至 11 頁 Page 10 to 11 Sounds absurd What do you remember asking of Santa Claus… can you recall those unlimited fantasies and expectations, the endless wish-list of the possible and the absurd? Look deep into Luis Chan’s collage painting Santa Claus visiting my studio and there’s another Santa, not quite on-brand… a Santa from a parallel universe stomping into our world, slightly out of phase, a primitive connection shared by mankind whether we sense it or not.

“When I was first sent a picture of the painting, I thought it a difficult shape… very long and narrow… but when I encountered it in the flesh at HKMoA it surprised me,” says composer Joyce Tang. “It’s just so large, I thought ‘it’s a fish tank!’,” she says. “But then perhaps that’s because the first thing I noticed was the tropical fish.”

Tang lives through the sound of the city. Even her concert pieces feature the everyday Hong Kong sounds which penetrate our dreams, the ticking of the cross-walk, the ambient hum of the millions. Sound travels in slow twisting paths (compared to scenic light); the soundscape has no centre, no clear direction or shape. “I love Chan’s distorted absurdity, the surrealistic technique,” she says. “It’s very Hong Kong. Feel the space of the painting, the twisted paths the characters follow. Hong Kong is just like this. It’s narrow, steep, criss-crossed with hairpin paths; within this maze the plight and fight of the challenges of our time.”

Tang responds to the painting through music. She gathers six of her students and friends: Tim Chan, Wilson Chau, Niko Hui, So To, Fish Yu and Rita Yung. Together the band of composers and musicians create something new; a soundscape to listen to the city, to interpret the absurd.

“Listening is the musician’s duty,” says Tang. The composers become divers, gliding through a borderless Hong Kong, around walls of water and undersea canyons, exploring the whale-like sounds the fishing port translated, her deep, safe liquidity attracting fishing boats and investors alike. A deep thrumming awakens the school — for they’ve become fish. It’s hard to miss an allusion to Kafka’s Metamorphosis. The protagonist awakens and he’s been utterly transformed; he becomes a disgrace to his human family, a monstrous vermin; the only way out, resist.

“The absurd imagination is a means of confronting this mechanistic existence, the emptiness of life,” says Tang. “Previously when I created music, I always felt that coherence was a must. A beginning, a middle, an end… when I met Santa Claus visiting my studio, I got lost in the painting, I walked along, I reached the ‘end’ and I’d forgotten the beginning. The neat end-to-end formula was just wrenched open.” A reminder to Tang to experiment with the impromptu; to forego the neat Christmassy wrapping paper; to cherish unconstrained thinking and absurd spontaneous creation.

Joyce Tang Composer Joyce Tang was awarded an Asian Cultural Council fellowship in 2017. She earned master’s degrees in both composition and electro-acoustic music and a PhD in musicology. Tang teaches at The University of Hong Kong and The Hong Kong Academy for Performing Arts, while her compositions are performed and published worldwide. 第 12 至 13 頁 Page 12 to 13

讀懂 字在城市

東京和香港一直是這麼遠那麼近的鏡像城市，10 多年前的電影《迷失東京》令人著魅，因為我們總能 夠在東京身上，看見香港的影子。電影記述男主角從美國來到東京拍攝廣告，走在霓虹滿路的東京街 頭，陣陣嬉笑夾雜著異國語言，他早已迷失在多元混雜的文化之中。

「身在日本，有日本人的相貌，心卻像在漂流一樣，一直融入不到當地文化。後來在香港看見跟日本漢 字有點不一樣、卻又十分相似的文字，覺得很親切。」世良田紀子小時候曾在美國生活四年，回流日本 後發現自己無法適應日本社會，嚮往闖蕩的靈魂無處安放，卻在與父母來港旅行的途上，在中西文化 的交匯處發現了生活的種種可能性。1989 年，她隻身來港學習漢字和廣東話，留在這裡尋找自己的身 分，一晃眼，今天剛好 30 年。

「無論是甚麼文字，每一個字背後都有其造字規律和故事。」紀子在紙上寫了個「家」字，有豕於家、 積穀防饑，正是「家」的本義。「家」字旁，她又寫了個字，一個沒有「丶」的「家」。「這是《天書》 中最令人難忘的字。看《天書》那 4000 多個字，全都是仿製出來的偽漢字，看似熟悉，卻又不確定它 是否真的存在，但愈是陌生和不確定，就愈引人細看和思考，看得很累，卻很有意思。」紀子理解沒有 「丶」的「家」同樣是「家」，由當天蓄豕的尖頂農舍變成今天的平頂大廈，生活作息與社會文化隨時 代而變化或融合，文字亦自有一番新氣象。

紀子說，藝術家徐冰的想象力和創造力如此驚人。《天書》1988 年首次在中國美術館亮相，由 4000 多 個偽漢字組合而成的 120 套線裝書籍，展開來的時候就像巨型迷宮一樣，令人流連或令人著急。紀子 則換了一個角度，將《天書》當成文字般的圖畫來欣賞。「無論是繪畫、書法還是電影，都能刺激觀眾 想象與思考，這就是藝術的好處。」

留港生活 30 年，紀子感激香港文化擴闊了她的眼界。「最初接觸香港，我很喜歡當時的港產片，每次 看電影聽到廣東話，總是覺得有趣又熟悉，遇上廣東話就是有一見如故的感覺。」來港後紀子一邊學習 廣東話、一邊了解香港文化，慢慢在文字與書寫之間找回真正的自己。她說，香港混雜多元的文化，為 她開拓了無限可能。八十年代，日本改編歌當道，紀子沒有閒著，透過在日本電影公司工作時的經驗和 人脈，加上她對廣東話的掌握，積極翻譯香港電影和創意文化，見證兩地交流的一點一滴。

徐冰的《天書》是一本「誰都讀不懂的書」，當紀子近距離欣賞這作品時，她繼續思考這些偽漢字的含 義，同時也感受到藝術家的創作熱誠。對生活滿有熱誠的她，也每天努力撰寫她的生活日誌，由讀懂這 個城市開始。

世良田紀子 日本東京人，曾在日本任職電影公司，27 歲來港後居住至今，多年來從事自由工作，以寫作及翻譯為 主；現於灣仔經營日本食品店，同時是芭蕾舞蹈學校行政部長及持牌地產經紀。

第 14 至 15 頁 Page 14 to 15 More than words...

There’s a tantalising feeling of a mirror between Hong Kong and Tokyo: from certain angles, the cities are visibly interchangeable and even to locals there’s constant flashes of recognition in the other.

With Japanese roots, Serada Noriko spent four years of her childhood in the US: but no matter how she tried to integrate into Japanese culture, she found herself, deep down, to be an outsider. A trip to Hong Kong opened her eyes to a new intersection of Chinese and Western cultures and a fresh rendition of the streetscapes she’d tried to roam. “I saw the same kanji characters across the city but, while familiar, they held different literal meanings.” In 1989, enchanted by Chinese culture, Serada came to Hong Kong to study Chinese and decided to lay down some roots.

“Every word has its own rules and stories,” she says. She wrote the word “home” in Chinese. Next, she wrote another word, a “home” character without the backslash.

“This is the most memorable word in A book from the sky,” says Serada. “There are 4000 words in the artwork, all of which are pseudo-Chinese characters… seemingly familiar but tugging at the mind… do they really exist? Some are more strange, uncertain, some are intriguing and thoughtful.”

Home and the fake home are both a sort of home for Serada. “The ‘home without the backslash’ character is meaningless today… but look at our architecture: centuries ago, many buildings had spires, pinnacles, while today we favour flat-top buildings. Text and language evolves too… so who’s to say A book from the sky would not be readable in the future?”

The writer applauds Xu Bing’s imagination, his bold approach of turning text into art. “It may still be meaningless, as a whole, but that’s the beauty of art, people can always find meaning within. Whether it’s painting, calligraphy or film, it can stimulate the imagination and thinking of the audience.”

Serada’s lived in Hong Kong for 30 years and found the culture has broadened her horizons and enriched her life. There’s a niche for Japanese-Cantonese translation and interpretation, giving Serada the opportunity to work on some classic Hong Kong pop culture. And working as an interpreter shows her the beauty of human communication: the interpreter must hang on every word of the speaker, understand the meaning, relay their thoughts — deep or simple — into another’s brain, fluidly and without distortion. Much of the communication and meaning happen beyond the words; a glance, a light in the eye, an orchestra beyond the note of the voice… and this is the surprising case, she finds, with A book from the sky.

Serada Noriko Serada Noriko worked for a Japanese film company, before a chance visit to Hong Kong changed her life. Moving to the city, she worked as a freelance writer and translator for many years, mainly in film industry. She now runs a Japanese grocery shop and she is also a director of a ballet studio and a licensed property agent. 第 16 至 17 頁 Page 16 to 17

平行時空寫作

時間在維港上空盤旋、窺伺。我們行走，我們奔跑，我們佇立，她都全然看在眼內。沒有人能逃過時間 的播弄，包括茹國烈。

時間很早就知道茹國烈。那一年，他才 16 歲，讀中五、考會考，像所有香港人一樣，正在經歷人生的 轉捩點。「今天回想，1982 年我在做甚麼呢？這 30 多年來又發生過甚麼呢？就是想不起。」茹國烈 背對著維多利亞港，面前是香港藝術家方召麐的《怒海浮沉》。

畫作以強烈色彩表現上世紀七十年代越南船民乘船來港的一幕，風高浪急。茹國烈說，那就是小時候 在電視上見過的畫面。模糊的記憶，漸漸鮮活起來。《怒海浮沉》滿紙顏色之上還有畫家的題字，圓渾 有力，每字每句都寫出了方召麐對許鞍華電影《投奔怒海》的感受，倉皇逃難，顛沛流離，對有相同經 歷的她感同身受。大時代下的小人物，俯拾皆是，沒有經歷過東飄西泊的日子，但徬徨迷失的意態，卻 竟然在茹國烈身上找到位置。文化界翹楚在藝術發展的海洋浮沉，1982 年的想象竟帶來切膚之痛。

從事藝術行政工作多年，洗盡鉛華，淨煉夢想，長大了要做甚麼？茹國烈滿肚密圈。「我想成為作家， 至少要寫一本書。」

茹國烈說：「大時代之下，我們的社會、我們每一個人，是如何走過來的呢？我們未必知道整幅圖畫， 而藝術正正就有這種作用，記錄時代社會的面貌，以至記錄我們每一個人的心靈。」1982 年茹國烈在 做甚麼呢？他慢慢記起，開始筆耕，在利用文字回答方召麐筆下的 1982 年，也在整理於某處丟失了的 個人記憶。

茹國烈於是寫了個短篇故事，兩個主角叫林曉，一個剛完成 1982 年會考，另一個則來自 2019 年。中 年林曉對舊日的記憶開始模糊，害怕就此忘卻一切，於是他透過時光電話跟年輕林曉連繫，希望在他 身上找到更多證明自己曾經年輕過的線索。年長的他跟少年的他提及一件在過去尚未發生、但在今天 卻教人抱憾的往事—讓大魚逃脫。「魚上釣了，無論多困難，都別放棄，一定要把牠拉上來！」雖然他 已經知道，大魚最終還是會走掉。遺憾很痛，中年林曉卻因遺憾而證明自己仍然活著。

茹國烈說︰「現在就是開始寫作的最好時機，不執筆的話，以後都不要奢談寫作了。」他寫，一個關於 海、關於魚、關於生命、關於他自己的故事。那是茹國烈的初試啼聲︰《 Before I Forget 》。 說 是《 怒 海浮沉》給了他一個契機，倒不如說他的故事一直存於胸臆，這畫作只不過給了他一個有品味的缺口， 讓他噴發、洶湧。

茹國烈 香港資深藝術行政人員。擁有逾 30 年藝術行政管理經驗，於 2010 年至 2019 年任職西九文化區管理 局表演藝術行政總監。2007 年至 2010 年間出任香港藝術發展局行政總裁，曾在香港藝術中心工作 13 年，並於 2000 年至 2007 年間出任總幹事。2019 年 1 月，在他的帶領下，第一個西九大型表演 藝術設施戲曲中心順利開幕，而第二個表演藝術設施自由空間亦於 6 月開幕。他完成西九文化區的工 作後，同年赴英國進修。

閲讀茹國烈的文字創作《Before I Forget》(只供中文版本) 第 18 至 19 頁 Page 18 to 19 Of paths simultaneously travelled

Our timeline is an eagle soaring silently across Victoria Harbour, sometimes meandering through the sky, floating on a whimsical thermal tide; then driven fierce by a flash of prey, changing direction, and the future, forever.

We don’t often remember these turning points in our lives because at the time they seem unimportant. But contemporaneous art has the power to provoke our emotional memory, restore the balance, allow us to feel or even relive momentous decisions. For Louis Yu, Fang Zhaoling’s Boat people on the sea transported him back to his teenage years with such force he remembered an entirely lost ambition. It was 1982, he says. He was to sit the middle school exams, and, like many teenagers, at a turning point. To seek a respectable profession, to rebel… to follow dreams or follow career advice, the two are rarely synchronised in a teenager’s mind. Yu doesn’t actively remember choosing the “respectable” path but it happened, not just to him but to thousands of dreamers alike. Nightly in the early 1980s, TV images of the plight of the Vietnamese boat people painted a strange backdrop to Hong Kong life, the tumultuous journeys of these fearless refugees somehow planting a seed of desire for stability in a whole generation.

Yu’s dreams of being a writer were put aside, forgotten. He loved the creative arts, loved to create, dreamt of writing a novel… but he also loved to organise, to administrate.

Yu the art administrator stands with his back to the harbour, facing Boat people on the sea. The painting itself is powerful: the people so colourful and fearless; in contrast, the scrawled narrative so angry and frustrated. Yu contemplates his life today, his career at one of the pinnacles of art and culture in Hong Kong, and yet he feels a tug, a connection to his teenage years… there’s something painful, lost, some unfinished business. He takes a breath and steps through the time portal to 1982. “Now is the best time to start writing,” he says across time. “If you’re not writing now, don’t talk about writing in the future or your dreams of writing in the past.” The story was in his heart since childhood, ever since he was visited by hazy apparitions of his future self, the harbour in flux behind him… and only now does Yu know what it means.

Before I Forget spills from him like a geyser. Yu’s love of books propels him to finish his own work, finally, creating not organising. His protagonist, Lam, fears forgetting his youth, invents the Time Phone to connect to his younger self, to keep up a correspondence with his youth. But for all his efforts, Lam feels only regret, agonising regret. And while painful, this human regret is proof he is still alive.

Boat people on the sea awoke this primal now-ness in Lam, no, Yu: and there’s no going back.

Louis Yu Yu is a senior art executive, with over 30 years’ experience in arts administration and management. He served as the Executive Director of Performing Arts at the West Kowloon Cultural District (WKCD) Authority from 2010 to 2019. Under Yu’s leadership, WKCD successfully opened the Xiqu Centre and the Freespace for promoting Chinese opera and contemporary performance respectively in 2019. Yu was the Chief Executive of the Hong Kong Arts Development Council from 2007 to 2010. He also worked at the Hong Kong Arts Centre for 13 years, including as the Executive Director from 2000 to 2007. After completing his work in WKCD in 2019, Yu took a sabbatical to study in the UK.

Louis Yu’s creative writing Before I Forget (Chinese version only) 第 20 至 21 頁 Page 20 to 21

窗內的微學

中國人有句老話，「食不厭精，膾不厭細」，既是不時不食的飲食文化與智慧，亦是藝術造詣、治學態 度、待人接物以至起居日常，「精」與「細」，始終是放諸四海皆準的生活美學。

「小時候，爸爸常常帶我們去飲茶，茶樓的傳統裝潢；點心車上熱騰騰的蝦餃燒賣；一家相聚的時光， 歷歷在目。他離世後，我便開始以微縮創作來紀念他。」入行逾 15 年，陳慧姬（Maggie）利用雙手凝 住了生命中珍貴時刻的畫面與色彩；兩年前，她創作了一席細緻精巧的團年飯—炸子雞、梅菜扣肉、髮 菜蠔豉等等。輕巧細膩的黏土，隨時間風乾成細密的紋理，末了，它依舊觸痛我們心底最柔軟之處，那 個地方就叫「回憶」。

每個人都有回憶，每個人都有故事。「總有一天我要創作尖沙咀鐘樓，那是我第一次跟爸媽搭火車北上 的地方。」建築模型師黎熾明（Tony）是 Maggie 的拍檔，他們以微縮模型來記錄歷史，巧手妙思扭轉 了微縮模型給人的舊印象。「為甚麼不嘗試創作 360 度都能欣賞的作品呢？」一個問題，為 Tony 帶來 第一件微縮模型作品「和昌大押」，他還特地加上了聲效和燈光，甫登場便是一陣譁然，那是 2007 年。 其後，Maggie 和 Tony 不斷發掘生活的細膩趣味，創作了旋轉餐廳、上海理髮廳、時代戲院、騎樓式 唐樓街景，六、七十年代的情懷，是他們腦海中揮之不去的香港風景。Maggie 說：「《關聯昌畫室》 記載了某段民間生活史，似乎跟我們的作品很接近。」這幅外銷畫只有 17.5 厘米長 26.5 厘米闊，但方 寸之間，卻得見畫家一絲不苟的作畫態度與技法。畫室空間以透視法切割，近鏡三位畫師在窗邊正襟 危坐，細看之下，不難發現他們正以傳統執毛筆的手勢來作畫，光額長辮，更透露了《關聯昌畫室》這 外銷畫的時代背景。

Tony 說：「做創作的人都特別重視細節。」他隨即從「細」處開始著手，將縮小了的畫作裱裝好，掛 在 Maggie 那個放團年飯桌的飯廳內，從窗外往飯廳張望，視角從現代穿越到六、七十年代的香港家中 一隅，再從當時穿越至十九世紀中期廣州的一個畫室，從此窗到彼窗，《關聯昌畫室》與微縮作品頓時 接通了時間的軌跡。窗內窗外的不同風景，互相裝飾了彼此的時代。

不放過任何細節，生活自成美學。

陳慧姬及黎熾明 微型藝術家陳慧姬和建築模型師黎熾明聯合創辦工作室，作品主要重現上世紀六、七十年代以降的香 港街景和城景，作品曾於悉尼、東京、大阪、台灣及上海等地展出。 第 22 至 23 頁 Page 22 to 23 A world in your hand

It was the noble Confucian prince who desired his rice well washed, his meat cut fine. Refinement in food — pure and fastidiously prepared, rather than luxurious or, in the modern sense, processed — is an ancient Chinese attitude, a life aesthetic which is universally applicable, and which impressed Maggie Chan since her childhood visits to the tea house. “Yum cha was a time of family gathering,” she says, remembering the traditional decoration of the tea house, the hot dumplings on the dim sum trolley.

When her father passed away, Chan could not touch the memories… until she began to recreate the scenes herself, condensing her life with her father not in time but in space, creating miniature models of their gatherings in soft clay. Her dexterous hands resurrect every tiny detail: finely diced meat, scallions, a fish strewn with the tiniest strips of ginger. “Yet, it still hurts the softest part of my heart,” she says.

Chan's modelling partner Tony Lai, an architectural modeller by trade, arrives in a similar mode but from a different direction. “The first time I took a train with my parents, the main thing I remember is the Clock Tower in Tsim Sha Tsui,” he says. Lai’s wish was to recreate the memories, the history, reverse the traditional impression of the architectural model which looks to the future.

Coming together to form their own studio, Chan and Lai share an aesthetic desire for the meta; showing history within history, free-standing models with Russian Doll layers of depth, just like real life. Both work to faithfully reproduce scenes and buildings at a life-like resolution while offering that omniscient viewpoint we enjoy when we’re scaled to giants.

The two modellers are delighted with The studio of Tingqua. Not only is the detailed gouache painting itself quite tiny, barely the size of a sheet of office paper, but it is also layered with nesting dimensions: through the windows, the three trade painters work copying the export paintings for customers; on the wall hang their recent executions, all in the European trade style. The painters sport the Qing dynasty plaited haircuts, clutching their brushes in the Eastern style as they dab at the watercolours… details smaller than a fingernail but containing a universe of cultural commentary.

“The attention to detail is phenomenal,” says Lai. “And the people working, their own attention to detail!” he says of the clouds of concentration curling around their work. Chan peers through the window of one of her own favourites, a 1960s Hong Kong dining room, a classic scene with Lilliputian paintings on the wall, a little history within history; and then through the window of the studio in Guangzhou from the 19th century, with its trade paintings hanging on the wall, a hint of Droste… and there’s a connection across time and scale. “That’s the beauty of these pieces,” says Lai. “Life can be self-contained.”

Maggie Chan & Tony Lai Miniature artist Maggie Chan and architectural modeller Tony Lai together founded a miniature studio, which celebrates Hong Kong’s past through modelling, education and cultural events. Their cornerstone work reproduces Hong Kong’s streetscapes and cityscapes from the 1960s and 1970s, creating delightful models which have been exhibited in Sydney, Tokyo, Osaka, Taiwan and Shanghai. 第 24 頁 Page 24

記取我城的好

星期六的下午，坪洲的茶餐廳，匙羹攪拌鴛鴦走，啡與黃混和旋轉，煞是好看，眼前這一位菲律賓女生 Gia（中文名江嘉玲），眉目如畫濃淡有致，嘴巴已懂得品嘗最地道情味。

「銅鑼灣某麵店的車仔麵很美味，你嘗過嗎？但我最喜歡的，始終是牛腩河。」面前的女生 Gia，閃耀 出太陽的光采，才 10 多歲年紀，對於生活、對於世界，躍躍欲試，聊天時說得興起，圓滾滾的眼睛， 一下子睜得更大了。深邃的輪廓、會舞蹈的睫毛，父母都是菲律賓人，帶著 Gonzales 的姓氏，Gia 卻 成為了土生土長的香港人，一如當年遠道前來的外國人，上一代離鄉別井，種下了後代堅定不移的根。

「我很喜歡香港，有時跟家人回菲律賓探親，在機場排隊的時候見到香港人，都會忍不住用廣東話跟 他們聊天。我很想念廣東話啊……」Gia 的廣東話跟英語一樣流利，教人記起也斯筆下的《鴛鴦》，「五 種不同的茶葉沖出了／香濃的奶茶，用布袋／或傳說中的絲襪溫柔包容混雜」，混雜的語言、混雜的文 化，是我們花了一個多世紀耐心栽培、兼收並蓄，然後讓她綻放出璀璨的城市之光。

然而繁華的彼岸，又是誰記取這城的前世今生？英國畫家哈維的外銷畫作《香港仔附近的瀑布》，既描 繪了西方人對香港的第一印象，也是香港的第一幅圖象記錄，甚至比開埠的故事還早。畫作就像水手 的航海日記一樣，記錄了西方船員途經香港仔時的所見所聞所想。今天外國人對此城的第一印象，也 許是快速、有效率、靈活、專業⋯⋯可曾想過，在百多年前，我們予人的第一印象，竟然是一條瀑布、汲 汲流水！

「每當我回到菲律賓，當地悠閒慢活的節奏，反令我更想念香港，我喜歡香港的速度與活力。」唱歌和 創作是 Gia 的愛好，年前，她就憑著一曲 Roses 勝出菲律賓歌唱比賽真人騷《完美 SING 戰》。她和 妹妹 Jessie 共同創作，感受著《香港仔附近的瀑布》那分悠閒，換個角度，以中文、英文和菲律賓文， 把香港的繁華與忙碌，一一寫在歌裡。《 Hong Kong 》是 Gia 念茲在茲的家，也是她為歌曲起的名字。 這是一趟尋找瀑布的旅程，Gia 一邊回溯記憶，一邊重塑她心目中的香港，從坪洲、中環到香港仔，從 陌生走到熟悉，以青春之名每天腳踏實地遊歷，猶如當年的哈維，凝住第一眼的印象後，再以創作把記 憶留存。

Gia Toscah Gonzales 及 Jessie Jireh Gonzales 香港土生土長菲律賓裔少女，Gia 因參加菲律賓歌唱比賽真人騷《完美 SING 戰》一炮而紅，長大後願 望可以成為歌手或醫生，照亮別人；喜歡與妹妹 Jessie 一起創作音樂。 第 25 至 26 頁 Page 25 to 26 The name of my song

There’s words which have no easy translation into other languages… uniquely local, so perfect that, once discovered, they have to be dropped (casually) into the very next conversation. Yuen Yeung is one of those: in slang, it’s come to mean “a couple”, a synaptic union of two distinct yet complementary beings. But it’s also a humble Hong Kong drink. You cannot get more local than a cup of Yuen Yeung, a mix of tea and coffee, a favourite of the Cha Chaan Tengs, an “unspeakable taste” according to one poet.

Gia Gonzales is a native Hong Konger, but sometimes finds it hard to be taken as a local. “So here’s this Filipino girl, using this hyper-local Canto phrase Yuen Yeung, I adore it, it’s almost like a fellowship, a belonging,” says Gonzales. She laughs and sings the first few lines of the vintage poem: Five different kinds of tea rushed out of / fragrant milk tea, mixed with cloth bags / or legendary stockings “How does it go? I love Cantonese so much… it’s a mixed language, a mixed culture, patiently cultivated for more than a century, and you know, at heart, it’s so gentle and tolerant.”

Gonzales is also a singer of regional fame. Her rendition of Roses on The Philippines talent show The voice teens had judges spinning in their seats. “I’m from Hong Kong,” she told judge Bamboo Mañalac, to a roaring ovation: an ambassador for the city, and it’s from her heart.

“I love this place!” she says, before speeding off (in Cantonese) into the pleasures of cart noodles in Causeway Bay or her absolute favourite beef brisket. “Whenever I meet Hong Kong people I can’t help but chat with them in Cantonese… I miss it when I’m away,” she says. “Especially when I go to The Philippines – the pace of life there is so leisurely, it’s special in its own way and I love it but it makes me miss Hong Kong’s buzz so much!”

Waterfall at Aberdeen, Hong Kong resonates a sweet harmony with the singer. Trade painters arriving in Canton rewrote these foreign landscapes into their own language, translating sub-tropical jungle into watercolour foliage. Gazing at Waterfall, Gonzales understands a new meaning of Yuen Yeung. It’s that undercurrent of home glimpsed in a foreign city, taking the edge off the unfamiliar. Gonzales puts herself in the place of trade painter William Havell, arriving in Hong Kong for the first time, the first western painter to capture a scene from this “new world”. Is it possible to see something again, for the first time? Another set of silent footprints appear at the waterfall, two hundred years since Havell first caught sight of its simple homely beauty. Through music, Gonzales conjures the mood, erases her memory and writes a peppy new song with her sister, Jessie… in Cantonese, English and Filipino. “Hong Kong is the name of my song… because it’s my home!”

Gia Toscah Gonzales & Jessie Jireh Gonzales A native of Hong Kong, Gia starred in The Philippines’ TV singing contest The voice teens. Gia also loves composing songs with her sister, Jessie. 第 27 頁 Page 27

Hong Kong

Composer / Author / Performer: Gia Toscah Gonzales and Jessie Jireh Gonzales

VERSE Wait a minute can’t catch up with this rapid pace Step out the door, I smell BO LO BAU & CHA SIU BAU I say 早晨 They reply with their biggest smiles OOPS! Gotta get to school before teachers ask for homework files

PRE-CHORUS The rush is real I can feel it through my energy The buildings high makes you feel like there’s a lot to buy City's busy cuz people are buying branded bags You can’t deny that it’s the city of...

CHORUS Hong Kong! The safest city you can live in Hong Kong! Paradise for people who love shopping Hong Kong! It’s the place that’s where I want to be...

Don’t you notice what I’m seeing now? Mga pinoy at Inchek nagiging 好朋友 Everywhere you go you’ll never ever feel left out! Just say 你好 and they’ll say 靚女 一起食飯 la

The rush is real I can feel it through my energy The buildings high makes you feel like there’s a lot to buy City's busy cuz people are buying branded bags You can’t deny that it’s the city of... 第 28 至 29 頁 Page 28 to 29

今夜星光燦爛

「那是銀河，在宇宙旅行了 23000 光年之後，銀河的光終於來到今天，來到我們眼前。」不動明王指 著其作品《看不見的星夜》說。

「地球只是宇宙中一個小圓點，我們所有愛恨悲喜都在這個小圓點之中，想來其實微不足道。」面前的 不動明王娓娓道來相片背後的故事，亦訴說他的宇宙觀。他 10 年前投入星空攝影之後，最為人熟悉的 作品，是尖沙咀的一片夜空銀河。抬頭細看，難以想象，銀河原來比維港燈火還要璀璨。

浮雲閉月，不動明王說，尖沙咀的光害是城市的挑戰，每一片雲都是飄浮的煙。「那年我才九歲，睡至 半夜，家人突然把我叫醒，原來附近的民居正燒起來。到外面一看，濃煙冉冉上升，像雲一樣聚攏，慢 慢地我甚麼都看不見了……」1981 年黃大仙大磡村，邈遠的記憶原該像灰燼一樣隨風飄散，直至不動 明王遇上《廣州十三商館大火》，才又想起這一段往事來。

由一組三幅連環組成的外銷油畫《廣州十三商館大火》，按時序記錄了 1822 年廣州外國商館區大火初 起、烈火沖天以至火趨熄滅的情景。看著畫作中的群眾或提燈或救火或逃難，尾聲了，前排房屋逃不過 被火舌夷平的命運，火，把黑夜燒得燦若白日的火，怎麼總是在夜裡，偷偷竄進每一家每一戶裡來？

「自小我就喜歡露營和觀星，小時候看到的星空又黑又美麗。長大了，開始運用專業攝影器材，自學星 空攝影，只是那時候的星空，開始變得不一樣了。」我們都知道城市人的任性帶來了光害，而不動明王 說，《廣州十三商館大火》令他想到讓大火與城市的光害相遇，拍攝香港藝術館上空的銀河，利用雲層 營造如煙似霧的氣氛，在不同位置加不同的曝光時間，才創作了眼前的這一張作品。來自 23000 光年 之前的銀河，彼此重疊又重疊，時間彷彿變得觸手可及，正如差不多 200 年前的那場廣州大火，也隨 著繪畫藝術而成為了可見可感的歷史。

歷史是甚麼？藝術又是甚麼？不動明王似乎在攝影中有所領悟。「深空攝影牽涉很多複雜的技術，包 括構圖與擺位，在對的時間對的天氣對的角度進行多次拍攝，才有機會成就一幅好的作品，那是藝術、 科學跟運氣的結合。」當我們再次細賞《看不見的星夜》，一道尖沙咀的霓虹晚色，一抹迷濛夜空中透 亮光芒，縱是設想之中，終究是意料之外。

不動明王 全職星空攝影師，2009 年開始接觸星空攝影，尤擅深空攝影技術；作品曾於不同媒體刊出，著有《星 空攝影——就算用手機也要拍出美麗夢幻的閃爍星空》。

第 30 至 31 頁 Page 30 to 31

Lifting the veil

“That was the Milky Way. After travelling for 23000 years across the galaxy, the light of the Milky Way finally came to us today and came into our eyes,” says Vincent Cheng.

We spin on the arms of a galaxy, slung around the galactic centre of the Milky Way at a half a million miles an hour; Earth isn’t even a pixel in these chaotic heavens; we’re the insignificant “Pale Blue Dot” to even our close planetary neighbours, just a speck of existence encoding our entire planet’s history, lives, deaths, loves, passions, hopes and joys. Looking up at the Milky Way in Cheng’s classic astrophotography images, it’s hard to imagine the scale and size of the galaxy just out of reach over Victoria Harbour. The clouds are alight on every scale. And then Cheng remembers something. 1981, the year the first Space Shuttle was launched, Cheng was just nine years old… smoke saturating the sky… the memory’s drifted away like the ashes of the ruined tenement blocks, yet, when Cheng first stands in front of Guangzhou foreign factories on fire, the past jolts his eyes with a vivid sensation. He’s shaken awake at midnight by his grandmother, some urgency, they need to get outside… the clouds are alight! The great fire in Wong Tai Sin, white clouds of smoke billowing from the flames, the low-hanging layer of stratus tinged orange with the fire, night becoming an infernal day.

“When I was young, the sky was always dark and beautiful,” Cheng says. The boy would go camping, stargazing, with little equipment but a pair of eyes and a star atlas. Years later, with more professional equipment, he found this natural wonder had almost been destroyed. And in 2019, the oil rendition of the dense cloud of white smoke threatening the gibbous moon over the Canton factories reminds Cheng, yes, of the Wong Tai Sin inferno of his childhood; but more deeply the luminous clouds arouse an emotion of sadness, the irresponsibility of human light pollution, the night sky wrought red, green and blue through the neon — and now animated LED — of advertising signs crowding the stars from the universe.

Astrophotography is a game of patience, says Cheng; it’s mostly science, a lot of luck, but also an art. There was a creative force pointing the astrophotographer’s camera to a fresh direction. Work with what you have. What if… what if the human fire would meet the galactic light? The nebulous light from the Milky Way we see dominating HKMoA in Cheng's work was travelling in its final stretch towards Earth when the anonymous China trade painter recorded the great Guangzhou fire. And those photons, which took 23000 years to travel quadrillions of miles to our planet, then jostled with those escaping a skyscraper window across the harbour just microseconds before the shutter fired… the camera doesn’t see the difference. Photons are photons. Clouds create a smoke-like atmosphere in Cheng’s images across Tsim Sha Tsui; the beautiful heavens are unexpected, almost out of place in their sudden focused presence. Cheng used different exposure times in different dimensions to reveal mysterious wonders long veiled by the sun and the dazzling Hong Kong night. The night is still young.

Vincent Cheng Vincent Cheng became a full-time astrophotographer in 2009, finding he had a talent for drawing out exquisite night-sky details even through Hong Kong’s shimmering atmosphere. He has written a book: Starry Sky Photography: even with just a mobile phone you can shoot a beautiful starry sky.

第 32 頁 Page 32

怦然心動的一片白

「人生是一場即興劇。教授演技的時候我常用即興劇來訓練演員，我問他們，你的生活有劇本嗎？答 案當然是『沒有』。」沉醉戲劇 30 多年，何浩源近年開始以即興競技喜劇的方式來轉化表演及教授戲 劇，由觀眾拋出題目的一刻，種種未知、曖昧、意外與不確定性的情緒便開始從皮膚滲透出來，一如人 生的本質一不期而遇。

不期而遇，要說的其實是何浩源與《雙燕》。「許多年前，我曾到香港藝術館參觀，獲得一幅紀念品， 裱裝好後掛在家裡，那就是 《雙燕》。」其後無論家搬到哪裡，《雙燕》都隨著何浩源的腳步進出不 同空間，一下子，以為生活在江南。

生活在江南，那是吳冠中永誌難忘的記憶。白牆灰瓦、綠樹飛燕，閒靜樸素的江南，不過是平凡人家的 起居日常，《雙燕》能夠成為吳冠中最滿意的作品，除了白牆背後所隱含的種種想象與可能，竟又還在 於那一場不期而遇。其時吳冠中已登上從寧波出發的回程火車，回頭卻見對岸牆上一片白，白得純粹 出塵，吳冠中心生一念，立即與學生衝出火車直奔彼岸，揮筆即就《雙燕》。驀然回首，那人卻在燈火 闌珊處。

若說何浩源遇上 《雙燕》是冥冥中一種無以名狀的牽繫，那麼他認識到畫作背後的故事，也是與吳冠 中的一點緣。「我們做藝術創作的，要不停追求，不能放棄。像吳冠中，若非他一下轉身、一刻靈感、 一個決定、一生堅持，我們今天便不會看到《雙燕》。」原來默默守護在家中的那一道白牆，一直支持 著何浩源對戲劇的不離不棄。他特別喜歡即興喜劇，每一次演出都沒有劇本，題目由觀眾決定，導演和 演員無法未卜先知，演員的每一個反應、每一次互動，都是如此純粹，如此獨一無二。「即興劇演員同 時身兼導演和編劇，所以要吸收很多不同知識、技能才能勝任，算是種修煉，是我們演員一生的修煉。」 藝術因執念而生，人生由即興而起，恍如留白，它不是任何顏色，卻又能容納所有顏色。

何浩源喜歡這種隨性和堅執的平衡，於是以即興劇走進與群眾的互動。深奧冗長的戲劇難入口嗎？他 就遊移於舞台與任何地方之間，就地與觀眾互動。演出的地方可以是社區中心、學校、藝術館、甚至是 齋舖。

藝術，無非為了成就種種真誠與美善。眾裡尋他千百度，一回頭，每個人都總會找到一個心甘情願的落 腳之處。

何浩源 演員、導演。現為「好即興競技喜劇」創辦人及藝術總監，香港話劇團及中英劇團導演及戲劇導師。

第 33 至 35 頁 Page 33 to 35 A life unscripted

“Life is improvisation,” says comedian Mill Ho. “When I teach acting, I ask my students, ‘Is there a script for your life?’ The answer, of course, is ‘no’.”

Ho is most alive when on stage, doing comedy improv. The audience throws out the title, the challenge, the keywords and there’s a split second to deliberate, direct, act: all kinds of emotions are unleashed, nothing goes to plan, the scene is ambiguous, unexpected. In the glare of the spotlight and the anticipating audience, uncertain thoughts start to permeate from the skin, there’s no time to rein them in or think too much… just like the essence of life. “Every reaction and interaction between the actors is so pure and unique,” says Ho.

So Ho has a fondness for the unexpected, for the synchronicity which drives the imagination of artists wild. And Ho’s most unexpected encounter is a synchronous surprise too: it’s Two swallows. “Many years ago, I visited the Hong Kong Museum of Art and picked up a souvenir. It was a poster of this Two swallows. I put it up at home; and no matter where our family moved, we took it with us.” “The white wall which silently guards the home has always supported me. It’s my talisman somehow, it whispers security to me: never give up on drama!” The artwork followed Ho around his world, he even began to believe he could be living in the beautiful landscapes of Jiangnan.

Life in Jiangnan was unforgettable for Two swallows' artist Wu Guanzhong. White walls, grey tiles, green trees, flying swallows: natural minimalism before minimalism maxed into consumer minimalism. Wu always said Two swallows was his favourite work, not just for the simple beauty of the scene and the evocation of the Modernist style into Chinese painting, but for the serendipity of its creation. The artist was aboard a train with his students when he caught a glimpse of the wall on the opposite side of the tracks. He had to paint it there and then, leaping from the train, possessed with opportunity.

Ho connects with the improbable sequence of events which led to this masterpiece: life throws the artist objects like a rowdy improv audience yelling out words. “A white wall!” “Coconuts!” “Two swallows!” The artist grabs what he can and runs with it. Ho loves this balancing act with the audience, the immediacy. It’s hard to create any deep esoteric drama or subtext, it’s an on-the-spot interaction. And it can take place anywhere, in a community centre, a school, an art gallery, a shop.

Nothing seized is too mundane, nothing is wrong, what’s discarded is gone forever. But what remains… like Two swallows this is the masterpiece of the moment.

Mill Ho Actor, director and comedian Mill Ho is the founder and artistic director of Comedy Battle, an improvised comedy show and workshop. He’s also a director and drama instructor with the Hong Kong Repertory Theatre and the Chinese-English Theatre. 第 36 至 37 頁 Page 36 to 37

跟自己和好的藝術

藝術是甚麼？藝術於你或我又是甚麼？「藝術存在每一個人的心靈之中，像水塘一樣，為我們提供灌 溉精神健康與心靈健康的活水，面對繁忙都市與工作壓力，我們尤其需要這一道清泉。」邱誠武分享 說。

離開政府崗位後，邱誠武於 2018 年開始修讀表達藝術治療課程，學習透過不同的藝術媒介，幫助他人 抒發情緒，反省自身，發掘才能甚至促進成長。治療過程中，藝術是目的也不是目的，她讓畫者歌者舞 者循著沒有既定路線的航道前進，創作者透過各種藝術形式，在表達藝術治療師的領航下重新尋找人 生與自我的定位，跳出地圖上邊境線的限制，柳暗花明，走到風光如畫的岸邊，頓覺生命真善與美。

「有很多時候，我們面對生活的種種問題，無法通過文字或語言述說自己感受，但透過表達藝術治療 所著重的『非語言手段』，即使你沒有專業藝術知識或技巧，在創作過程中也可自我反省，逐漸尋找問 題的答案。」邱誠武嘗試利用流動的顏料來作畫，顏料隨著位置高低與風的流動四方八面轉向，在畫紙 上延引出如松樹般茁壯的樹幹和枝葉來。

「顏料慢慢流動，我將畫作橫陳一看，松樹突然變成了充滿現代感的城市。換一個角度出發，這就是藝 術的想象力與創造力。」看過黃道周的《松石圖》與《行草書七言詩》後，邱誠武也有感而發。黃道周 的《松石圖》繪畫著三棵松樹，松樹或扭曲盤纏或筆直挺拔，跟《行草書七言詩》筆墨有力的書法對應， 正是作者剛直人格的反映。看著看著，邱誠武漸生共鳴；「每個人都應該有自己的原則和想法，身處明 末清初的黃道周亦然，今天的我們又該如何持守自己呢？」邱誠武也試著藉繪畫來尋找自己的答案。

再問，藝術到底是甚麼呢？「表達藝術治療是一種治療，而藝術本身，也可以自療。藝術不是牆上或博 物館內的一件死物，她原該是我們的水塘，是生活的一部分，與我們同呼同吸。」邱誠武的話是註腳， 藝術不拘泥於形式，無形的創造力卻連繫著身體、情感、思想和心靈，迸發出生生不息的力量。那是如 此耀眼、如此珍貴。

邱誠武 前運輸及房屋局副局長，曾任《經濟日報》執行總編輯。現正在香港大學進修表達藝術治療碩士課程。

第 38 至 39 頁 Page 38 to 39 An expression of healing

Art is a potent way to express the inevitability of life. There is a Confucian enlightenment — a Tao — in knowing the beginning and the end; small children and great artists, unconditioned by the world, share that sixth sense for when the canvas is complete. “Art exists in everyone’s mind,” says Yau Shing-mu, a former journalist, author, senior government official and now a student, consultant and trainee therapist. “Creation is like a lotus pond, providing us with water, irrigating mental and spiritual health. In our crowded city we especially need to find this pond.”

After finishing a government job in 2018, Yau began to study Expressive Arts Therapy, helping others express emotions through arts. Such therapy is unique, helping clients reflect on themselves, discover talent and irrigate their own personal growth. “Art is more than an end in itself,” says Yau. “It allows the artist, the singer, the poet, the dancer, to follow a path without any given route.”

Turning to Pines and rock and Poem in running-cursive script, Yau is moved. History teaches us how to manage the future; civilisations rise and fall, but the artworks created almost four centuries ago mined the same swamp of human emotion. The conifers are entwined; the calligraphy is powerful and smooth. The ink may have aged but the author’s presence is as alive as the city’s own beating heart.

“Huang Daozhou lived in ‘interesting times’,” says Yau. “The late Ming dynasty was an era full of chaos and change. Huang would be captured, killed. But the mountains and rivers will last forever, the Earth is rugged.” Yau looks out at the skyline across Victoria Harbour, the city ever changing, the sky ever changing. The breeze tugs at a puff of smoke over Wan Chai, dispersing it forever. Yau finds an anchor in the purge.

“In difficult times, how do you hold yourself like Huang?” Yau asks. The flowing pigments hold a clue, the tribology of ink and paper twisting with the forest topography, running along with the poet’s train of thought. The paper stretches out the trunks and branches. Open your eyes to this bold vertical array… from another angle, Yau sees them become a modern city; the shape of ancient ink is less important than the imprint on the imagination. The purpose of art is not the purpose of art.

“People can get better through creative therapies… but you can also self-medicate with art,” says Yau. “Art is really not some dead object on the wall of a museum. She comes from the reservoir of life itself… we drink from the same water with every creative thought.”

Yau Shing-mu Former government official Yau Shing-mu is now a student of the University of Hong Kong Master Programme in Expressive Arts Therapy. Before taking up the post of the Under Secretary for the Transport and Housing in 2008, Yau was a journalist for 25 years, working up to Executive Chief Editor of the Hong Kong Economic Times.

第 40 至 41 頁 Page 40 to 41

欣賞藝術藏品，細聽策展人語。 讓自己成為生活家，窺看多元萬象的藝術世界，探索可能。 慢慢翻開這拉頁，像敞開一扇窗。 寫下文字，故事也好，詩詞也好； 或填滿顏色，寫實也好，抽象也好； 或留白。 敞開，就會發現賞心悅目的風景。

Appreciate the art. Learn from the curators. Be a Lift Artist exploring a wide world of contrasts and possibilities. Fling open this window and breathe fresh inspiration from the blank page; jot a few lines, a short story or a poem; draw something real or abstract; or simply leave it a blank, a mirror for an open heart. Something will always appear.

第 42 至 49 頁 Page 42 to 49

這頁空白位置是讓讀者記錄自己的感受。 Readers are invited to express theirs feelings on this blank page.

第 50 至 51 頁 Page 50 to 51

凡事幽微 凡物優美

「咕嘟，咕嘟，咕嘟……」水都燒開了，慢慢地將開水注入杯中，在杯緣翻滾打轉了幾下，透明的開水 漸漸染上一層琥珀色，茶香飄送，思緒也一下子飄得老遠，她想起了小時候來。「一家人能夠圍在一起 吃飯很滿足，後來長大了，每當我想起食物， 都會想起當中的美好時光，我相信，食物能夠為任何人 帶來快樂。」

她是關琬潼（Shadow），情迷食物造型設計，今天經營曲奇餅店和茶室，食物以明志，尋常，卻不平 凡，一如她看生活的眼光。「我喜歡在平凡的事物之中，尋找吸引人的美麗之處，例如下雨天的時候， 望著雨點輕敲窗邊，敲出點點水珠，那種安靜與內涵，十分迷人。」Shadow 從小學習中國畫，特別欣 賞其獨特的色彩，只要願意靜下心來欣賞，筆墨山水總會悄然跑進自己內心，成為自己的一部分。這猶 如她席前溫熱的茶，慢慢從琥珀中滲出了淡淡的金，一切事物都在無聲無息之中經歷著更替變化。

「我喜歡水墨傳遞給我的感覺，只有黑色，卻因為濃淡不一而有不同呈現，表面看似簡單，背後卻蘊含 著各種變化，相比彩色顏料，水墨的感染力其實更強。」水和墨，有如在暗夜裡散開的霧，靜靜地黏附 到頭髮和皮膚之上，當你懂得反應過來的時候，或者髮尾早已濕透。當 Shadow 遇見《烏賊》，也有 這般的體會，「這幅畫並不鮮艷奪目，但當你一步一步走近細看，烏賊噴墨時候的筆墨濃淡有致，這些 細節與心思，是要慢慢了解過來才會明白的。」

高劍父破格地以烏賊為題，利用濃濃淡淡的大團墨色渲染出烏賊噴墨逃生的一刻，巧妙地畫上若隱若 現的烏賊觸鬚，生動傳神，也觸動了 Shadow。「我覺得經營茶室就是透過食物來講自己的故事。從菜 式設計到餐具桌椅、室內裝潢、氛 圍擺設、播放的音樂及禮品包裝等等，任何一個細節都可以表達自己對美的取向，每個微小的部分環 環相扣，最後成為自己的生活態度。」任何事物皆可入畫，如果說高劍父的山水有容乃大，那麼 Shadow 的店子，就是一個將生活淬鍊成美的地方。

任何事物都可以很美，Shadow 深諳此道，別人用完即棄的茶包，她信手拿來點綴面前的茶席，將茶包 像粉撲一樣，在質感樸實的麻紙上輕輕塗抹，慢慢滲出了濃淡相宜的風景來；她也將《烏賊》的濃淡調 子，呈現在親手製作的蛋糕上，似有若無的紋理如茶煙，盡在不言之中。「配合秋天沉靜淡雅的花卉， 這套茶席很安靜，給人閒適的感覺。」Shadow 為茶席取名「靜庭」，閒談之間茶涼了，她又倒出一杯 熱茶來，茶色從赭褐變成了深褐，低頭輕呷一口，一杯茶幾乎就成了一個水墨世界，她在深褐色中觀照 自身，繼續從任何事物中尋找美之所在。

關琬潼 食物造型設計師，曲奇餅店及茶室老闆。菜式堅持以新鮮食材入饌，味道與食物造型雅致清新，自然不 華。著有《日日是好日》、《布．遊樂美生活》、《徘徊在幸福餐桌》等。 第 52 至 53 頁 Page 52 to 53 Shades of subtlety

Shadow Kwan pours the tea, a simple amber infusion. She favours a basic, unadorned cuisine, nothing out of the ordinary, because this is where taste can be found. “A family can be very satisfied eating together,” she says. “I believe food can bring happiness to anyone.”

Kwan runs a popular city tea room and cake shop, but child-like pleasures keep her occupied. “I look for beauty in ordinary things,” she says. “When it rains, I like to look at the raindrops, tap the window, watch them run… the silence and meaning is very charming.”

Chinese ink has the simplicity Kwan adores. In the bottle, contained, it’s black, monochrome. But escaping onto paper, it spreads like a dense fog creeping through a dark night, insidiously nestling into hair and skin until suddenly you’re soaked. This is Kwan’s experience with Sepia. “The painting is not colourful… but when you step into it and look closely, the ink of the squid and the ink of the squid’s ink are such distinct shades…”

Kwan’s picturesque tea room offers a sanctuary to calm the thoughts of the thirsty. “Running a tea room is a story about food,” she says. “From food design to tableware, chairs, interior decoration, ambience, music, gift packaging… any detail can express your own orientation to beauty,” she says. Each piece interlocks until every molecule resonates with the hum of the designer’s vision. Kwan created a delicate cake to celebrate the painting: there’s no texture like squid ink, yet the foodie manages to portray the subtle clouds to perfection.

“Everything can be drawn into a painting, everything is drenched in beauty.” She sweeps the discarded teabag like a beauty puff, smudging an amber calligraphy across a simple paper, building a scenery of light and shade. The tea grows cold: Kwan pours a fresh brew into the cup, the darker liquid diffusing sharply into the inky world of the cephalopod. She looks at her shadowy reflection in the golden surface, a world where even the surface of a humble cup of tea has a deep and infinite beauty to it.

Shadow Kwan An entrepreneur building a brand of elegance and simplicity, Shadow Kwan is a cake shop and tea room owner, food stylist and culinary pioneer.

第 54 至 55 頁 Page 54 to 55

乘著咖啡豆在繞圈

花白的光影從窗外射進來，在咖啡上照出了一片斑駁，那搖動不定的閃爍，原是遠方咖啡農莊的影子， 農夫默默種植，靜候收割，赤道的陽光、土壤和水源，慢慢孕育出各種味道與芬芳，收束在一粒咖啡豆 之內。

看著張銳（Horry）將咖啡豆研磨成粉，恍如翻開故事書，道來咖啡的前世今生。「手沖咖啡的味道是 這樣原始，簡單純粹，不加修飾，你嘗到甚麼就是甚麼，是我們的初心。」Horry 邊說，邊將熱水慢慢 注入濾杯繞圈，咖啡的香氣，立即飄溢滿室。

「每年 12 月是咖啡的採收季節，我們會到非洲或南美挑選咖啡。優質的咖啡不一定出產自享負盛名的 莊園，名不經傳的品牌也有令人驚喜的出品。」咖啡行業不問出身，2014 年，Horry 辭去原有工作， 毅然加入咖啡市場，後來更獲咖啡品質杯測師資格，希望以專業知識帶動行業傳承。「有些人做一兩年 就離開了，你要擁有專業知識，知道行業該如何持續發展下去，然後創新，予以帶領，這才是重要。咖 啡莊園採用可持續發展方式種植咖啡豆嗎？環保措施做得足夠嗎？我和拍檔都希望更多人認識咖啡豆、 莊園和農夫的故事，每一個細節都環環相扣。」

咖啡入口淡雅清爽，溫熱的觸感從杯緣盪至唇邊。「器物會影響沖煮茶飲或咖啡的味道。鋁合金、玻璃 或紫砂陶泥，都別具內涵；若果器物擁有獨特的外型，當然也增添多一分味道。」Horry 仔細聽著有關 大曲壺的描述，壺嘴、壺身及壺把造型一氣呵成，視線隨著線條延伸，似乎沒有盡頭，是傳統工藝與現 代藝術的美妙結合。

紫砂陶泥密度高，能好好保存茶飲的色香味，大曲壺以紫砂創製而成，背後更藏著動人故事。上世紀中 葉，紫砂行業漸趨式微，宜興紫砂藝人汪寅先和中央工藝美院教授張守智共同製作了大曲壺，將現代 美學融入作品之中，為紫砂行業重新賦予生命力。完成作品之後，在壺底加上自己的名字。這個動作， 蘊含了藝術家的自信和驕矜，是承擔、是熱愛。為行頭創了先河，及後匠人都在作品上簽名，由匠變成 藝，大概，就是這種煉就。「紫砂工藝是一種藝術，沖煮咖啡也是一種藝術，無論是紫砂藝人還是咖啡 師，都要透過不斷的練習與浸淫掌握技術，再用技術實踐理想與信念，成為紮根生活的藝術與哲學。」 每一行業自有其際遇與命運，Horry 從大曲壺得到啟發，明白要傳承的不只藝術和工藝，背後那雙負責 創造的手，其實值得大家認識，傳承就是一代又一代人的堅持與努力。

張銳 工程系畢業，2014 年創立咖啡店，考獲「Q Grader 咖啡品質杯測師」資格，不時到非洲及南美等地採 購咖啡豆，堅持以可持續發展為其經營原則。

第 56 至 57 頁 Page 56 to 57 An intangible grade

A little hot water trickles into a rough paper filter and the coffee grounds inflate with a creamy foam. The aroma of a Colombian farm fills the room… the sunlight through the window comes from the same star which nourished the ripening coffee blossoms 17000km away. “The taste of hand-ground coffee is so primitive, simple and pure,” says Horry Cheung, coffee engineer. “And what you taste is our heart.”

Watching Cheung grind the beans to a precise powder is like opening a story book. It’s a meditation to the present moment: the ground coffee can never become a whole bean again; the roasted bean can never become a blossom; the blossom will never become a seed… the little filter where the grounds are steeped is almost the final step in the chain, and it’s as vital as the terroir of the mountain slopes.

“Every utensil brings its own meaning,” says the Q-certified specialist. “We can use aluminium alloys, glass, or this special purple clay.” The material used affects the taste, and some materials, such as the zisha purple clay, can build up a patina of flavour over time. Purple clay also has high density and preserves the delicate and subtle flavours of the land.

“If the utensils have a special appearance, the taste will be changed too,” says Cheung. As an engineer, Cheung appreciates the beauty of the zisha tribute piece held by HKMoA, the Large teapot with ribbed decoration and overhead handle. “The body and the pot are integral — the line of sight tracks the surface in an infinite loop, it’s a wonderful combination of traditional craft and modern art,” he says.

But as a coffee artisan, dedicated to preserving the practice, Cheung finds the story of the teapot most moving. An artist and a professor teamed up to revive the ancient craft of zisha pottery, an industry once flourishing in Yixing but then in steep decline. Upon the experts’ insight, local craftsman rekindled the ancient practice of stamping each and every piece with an autograph. This final flourish is more than a finishing touch, it’s a vow of responsibility and ownership contributing to the collective pride of the whole industry. The fresh accountability of this simple innovation transcended modern zisha pottery from craftsmanship to art.

“The purple clay pottery is a revived art. Brewing coffee is also an art. Whether you are a zisha potter or a barista, it’s through continuous practice and immersion in the craft that we move such things from the mundane to the art and philosophy of life itself,” says Cheung. What we inherit as a society, whether folk art or a humble cup of joe, is the result of the persistence and remembrance of generations since time immemorial.

Horry Cheung An engineer by training, Horry Cheung worked in the accountancy sector until quitting his job in 2014 to join the coffee industry. Now a certified Q Grader, Cheung travels the world to source environmentally-sound coffee beans for his local roastery. 第 58 頁 Page 58

青春招展 芳菲流動

「不到園林，怎知春色如許」，梅花、桃花、牡丹、蘭花……由白先勇重新編製的青春版《牡丹亭》， 將崑曲美學與現代審美共冶一爐，看杜麗娘的一襲長袍，也看繡上不同花卉的十二花神服飾，每一朵 都栩栩如生。這正是歷代文人墨客寫畫入詩的對象，四時之美就在花朵一枯一榮之間。

所謂十二花神，乃根據中國民間習俗，結合普羅大眾對不同花卉之鍾愛程度而演變出來的神仙形象。 《牡丹亭》中，以男主角柳夢梅來比擬正月梅花，這種以梅花為首的排序方式，同時見於康熙御製之五 彩十二花神杯。這一套杯造工精細、器薄如紙，配以撇口、深腹、淺圈足的特點，以及腹壁按月不同的 花卉繪畫和題詩，藝術價值及收藏意義俱高。由於限量生產，歷來收藏者眾，能夠蒐集到一對的人不 多，可以尋得四隻的幾稀，將一套十二件集齊的，更是難比登天。「中國工藝品細緻精美，創作意念往 往源於大自然，作品背後的精神更值得大家深思。五彩十二花神杯亦不例外，我們希望藉著舞蹈跟藝 術品對話，啟發學生多觀察身邊事物，漸漸培養人文精神，讓他們從生活的不同層面建立自己。」梁曉 端（Melissa）是城市當代舞蹈團 CCDC 舞蹈中心的副藝術總監（教育），一直致力藝術教育，在一跳 一踢一推一跪之間，她相信身體是想象的延伸，透過身體的擺動和節奏，我們可以有更大的空間去呼 吸、說故事或分享情感。「如果我們要表達喜悅或傷心，那是怎麼的呢？有時候語言和文字都不足以交 代，喜怒哀樂這些感覺，其實早已儲存在我們的身體和肌肉之中，而舞蹈就是連繫情感最真實而直接 的方法。」

觀察力與人文精神，說到底，就是讓人與生活重新連繫。「教育跟藝術很相似，都是關於人的。」人的 價值在乎人性，這也是現代舞所重視的價值。「現代舞很著重個性，我們會將學生的獨特之處結合起 來，編出群舞、雙人舞甚至是獨舞，讓他們知道即使想法再小，對整個創作來說都可以是很重要的貢 獻。」Melissa 和兩位來自城市當代舞蹈團舞蹈中心的編舞 Mary Tang 和 Natalie Mak，以五彩十二花 神杯為創作題目，招聚了一群熱愛跳舞的中小學生，利用花朵綻放的影片來刺激他們的思考，想象自 己是種子是花卉，如何破土發芽，如何在風中搖擺茁壯；讓年輕舞者隨著個人呼吸成為節奏和旋律，好 好發掘身體的潛能。

「春夏秋冬，四季更迭，面對急速的城市生活，我們應如何跟大自然重新連繫呢？」Melissa 將透過舞 蹈與身體，跟學生及現場觀眾一起尋找答案。當春天的花發芽綻放，我們要如何安放身上四肢？到了 冬天，萬物蟄伏，如果你是水仙或臘梅，該展露自己，還是抱緊身體對抗嚴寒？如果我們細心傾聽大自 然的聲音，也許我們此刻就有答案。「傾聽大自然的各種生命和法則，讓我們與所居之地重新和諧共 處。」Melissa 如是期許，從舞蹈教育開始，讓我們的下一代重新掌握自然的奧妙與節奏，明白人類自 身的位置與責任，學習謙卑。

梁曉端 城市當代舞蹈團 CCDC 舞蹈中心的副藝術總監（教育）。畢業於香港中文大學體育運動科學系，先後 獲教育學士學位及教育（體育運動）研究文憑，通曉多種舞蹈及戲劇表演藝術，曾與本地多個劇團及舞 團合作，致力成為一名教育藝術家。 第 59 至 61 頁 Page 59 to 61 Calendar of emotion

“Without seeing the garden, how can you experience spring?” A literal and existential question asked of a sheltered young woman in the most memorable scene of Peony Pavilion, a 400-year-old opera entwining nature and human emotion. The Twelve Flower Gods romp through the three-day opus, driving character and action forward like a relentless chattering steam train, a visual and visceral experience marking Peony Pavilion as one of the Kunqu classics.

The discrete delicate beauty of a set of Chinese month cups, Twelve cups with representing flowers of the months in wucai enamels, could not be more different than the whirling operatic work, yet a brief encounter with the Twelve Flower Gods in their porcelain form shows them to tackle the same profound human energy. From the rugged new year Prunus, blossoming through the snow, to the purity and integrity of the Sixth month Lotus, the set literally moves Melissa Leung, Assistant Artistic Director (Education), City Contemporary Dance Company CCDC Dance Centre.

Leung understands the body as an extension of the imagination. “Observe the things around you, you can gradually develop a humanistic spirit,” she says. “If we say we are happy or sad, what actually are those feelings? Sometimes language and words are not adequate to explain, but if we look, we find the feelings of happiness or sadness are stored in our flesh and bones. Through the swing and rhythm of the body, we can have more room to breathe, to express our inner emotions.”

Dance is one of the most authentic and direct ways to connect emotions, says Leung, and to reconnect with life. Leung’s eye for detail is keen, for she says the smallest idea from a dancer can make an important contribution to creation as a whole.

Working with Mary Tang and Natalie Mak, choreographers with the CCDC Dance Centre, Leung and her troupe created the Colourful Twelve Flower Cup Dance. A group of dance-loving students gathers to stimulate their thinking… through the life of the flower.

“Personal breathing becomes a rhythm, a melody, to explore your body’s potential,” says Leung. “Spring, summer, autumn and winter, these changing seasons… in the face of rapid urban life, how should we reconnect with nature?”

The cups mark the months, the students mark the bloom. “When we flower, how do we hold our limbs? In winter, everything is defeated… but if you are a narcissus or a plum, you show yourself! Everything in its place!”

Leung connects to a natural truth, reveals nature’s cycles to her students. Let the next generation build a bridge into natural life, reconnect with our ecology.

Melissa Leung Melissa Leung is Assistant Artistic Director (Education) at City Contemporary Dance Company CCDC Dance Centre. On stage, Leung is known for her intense and exquisite physical acting, being trained in four classical Asian theatre forms — Bharatanatyam, Wayang Wong, Beijing opera and Japanese Noh — as well as Stanislavski and post-Stanislavki acting techniques. Behind the scenes she has broad theatre skills, with experience in directing, education and art administration. 第 62 至 63 頁 Page 62 to 63

遇上 1292 分的自己

你有你的從前，我有我的歷史，雖說不是每個人的傳記都夠引人入勝，然而有誰的人生是不值一提？

1989 年，香港藝術館當時仍位於中環的香港大會堂，一名香港市民特意拜訪藝術館，並帶來一個似乎 平平無奇的青花瓶，既不稀奇也不鮮艷，口沿甚至有明顯破損……如果物事隨年月消逝漸成缺憾，一 個受傷的青花瓶，還能招來艷羨目光嗎？時任中國文物部門館長的何金泉先生獨具慧眼，一下子就有 了答案。這是明朝天順年間燒製的青花螭龍纏枝牡丹紋瓶。

「我覺得青花瓶跟我的遭遇很相似，我們都在機緣巧合下被發掘，成為今天的自己。」尹漢彥是視障人 士，六歲開始視力日漸衰退，眼前總是明昧無定，事物的影子與形狀交疊而成模糊印象，世界只剩暈開 的光與影。他沒有想過，堅毅地鍛鍊，竟鍛鍊出自己的天地來。「當年參加保齡球同樂日，教練發現我 頗有當球手的潛質，於是 2005 年我便跟隨他開始了港隊的訓練，也就這樣開拓了我的運動領域。」漢 彥也沒有想過，殘疾人士也可以為自己的命運當家作主。2010 年，他代表香港參加亞洲殘疾人運動會， 於保齡球視障單人賽中以一局連打七球全中，獲得 1292 分。贏得冠軍那一刻他知道，他的世界變得不 再一樣。

天順年間，社會動盪，景德鎮官窰大量減產，民窰雖然持續運作，但有款字的瓷器依然罕見。「天順伍 年」，青花螭龍纏枝牡丹紋瓶卻以瓶底文字，說明了自身的價值與意義；更以浮雕技巧製作的小龍環繞 著瓶頸，外型倍添獨特。何館長獨具慧眼，一眼看穿青花瓶之匠心獨運，猶如千里馬與伯樂，相遇復相 知。

30 年後的今天，香港藝術館一級助理館長（中國文物）林婉雯與漢彥細細分享這段軼事，又為他描述 青花瓶的樣子，鈷藍小龍、纏枝牡丹。「我循著館長的描述，嘗試想象每一道細節，然後發現，原來瓶 口的瑕疵只有那麼一點……我們都一樣，不完美令人趨近完美；有時候，正正要學習擁抱自己的不完 美。」漢彥回想 2010 年那一場改寫自己人生的比賽，他打出了 1292 分的佳績；縱然跟滿分還有一段 距離，這 1292 分卻令他成為當天最完美的視障保齡球手。

「運動員不是每次比賽都一定會有很好成績，但我們依然不斷練習追求進步。每一個人都是珍貴的， 不要聚焦別人的不足和缺失，我們要發掘他人值得欣賞的地方。」完美不過是相對論，眼睛並不是唯 一，漢彥帶來了認識完美與不完美的另一種方法，不與別人比較，學習欣賞自己的優點與軟弱，那就是 千里馬遇見伯樂以外的另一種美。

尹漢彥 退役視障運動員，曾於 2010 年亞洲殘疾人運動會上獲得佳績。2018 年接觸單車運動後，更參加了慈 善單車錦標賽，為慈善出一分力。 第 64 至 65 頁 Page 64 to 65 Soul searching on the seventh strike

“We are all discovered by chance,” says Wan Hon-yin, his deft mind feeling around the lips of the ancient peony vase, the curator’s narration building him a sharp image of the cool porcelain skittle, ears and imagination replacing sight and touch. He frowns… there’s an unexpected roughness on the mouth, an asymmetry. The narrator pauses… and Wan breaks into a smile. “The beauty is in the flaw,” he says.

Curator Maria Lam is guiding Wan around the Vase with chi dragon and peony scroll design in underglaze blue, describing its image, its coiled dragon, its remarkable cobalt blues… for Wan can see only a blur, at best. At the age of six, his eyesight began to fail and by his seventh birthday all the lad could see of the world was a formless field, mass and energy merged, hollow images impractical for this practical world.

Wan feels a connection to this prodigal piece. A member of the public brought the vase to City Hall (the home of the Hong Kong Museum of Art in 1989) curious about its origins. The curator responsible for ceramics saw potential in the vase, despite the mouthpiece flaw which would render a lesser piece worthless; astonished, he deduced the vase to be an extremely rare piece from 1461, dating it into the depths of the interregnum, the infamous dark age of the Ming dynasty ceramics.

“Not everyone has such a dramatic story,” says Wan. “But whose life is not worth mentioning?” Wan himself was “discovered” by an instructor who discerned some talent in the young man during a casual sports tryout day. “The coach thought I had potential to take up the sport,” he says. “So he invited me to join the ten-pin bowling squad and train with the team. I’d never really thought a disabled person could achieve any kind of independence like that, but it was destiny.” In 2010, Wan represented Hong Kong at the Asian Paralympic Games in the Men's Ten-pin Bowling Singles, Partially Blind category. Over the Games, he scored 1292 points and, in the Final, scored seven strikes to take pride of place on the podium: a gold for Hong Kong, a gift of self-discovery for Wan.

Blindness is a difficult flaw in our ocular-centric world — but Wan is philosophical about the priorities of perfection and imperfection. “Athletics is not about winning, it’s about progress, pushing yourself. I never focus on the strengths or weaknesses of my peers,” says Wan. “It’s a beautiful thing to be recognised by others. But it is a whole other beauty to embrace our holistic self.”

Wan Hon-yin Wan Hon-yin is a distinguished Hong Kong athlete, bringing home gold from the 2010 Asian Para Games in Guangzhou.The sportsman has recently discovered a love of cycling, and has participated in the Road King Charity Cycling Championship.

第 66 至 67 頁 Page 66 to 67

後記 EPILOGUE

第 68 頁 Page 68

策聽，不策劃

做品牌推廣我們用事實理據市場學，設計思維，小心戒絕供應者思考，每事問是否從消費者角度出發。 過去「買啦喂買啦喂，我的貨品很正！」現在已不適用，因為顧客不是對你不屑一顧，而是你根本不會 出現在他視線範圍內。在資訊海洋之中你要脫穎而出，口若懸河的推銷不比實際價值出眾的產品，而 產品又不比窩心的用家經驗——你真正明白他要甚麼就提供甚麼。

我的團隊，把這套市場推廣專業語言帶到博物館。心想對號入座理應易如反掌。不過既然公共博物館 要與時俱進，我們的推廣手法亦冀望一試干預式創新。

於是我們為香港藝術館精心策劃一系列活動：將館旁透明小屋變身實驗室、街頭訪問和工作坊心聲召 集、生活家策展人共創深聽、學術專家建立觀眾歷程原型、研究小組田野分析、回應化為精采呈現、最 後是深思反饋以及策略調校。

然而，當我們以最專業的策劃力，拿著我們大大小小的列表和流程，去依計行事之時，一切都與我們預 設的大相逕庭。正正因為我們面向的是人，是活生生的個體、善變的靈魂，每一個都獨特，以致每一次 對話和相交，都有火花，都是奇遇。是你不能用收支表去演算的、用節目流程去擺布的。

有幸我的團隊，已經是非常靈活有彈性的打不死小將，仍難免被種種不可逆料的發展困惑。我勉勵他 們說，我們不是說好了策聽嗎？策聽就是尊重你的對家，他的分享不似你預期，是恰該的；我們不是說 好了實驗嗎？實驗就有風險，種種環境因素干擾了你的計劃，也是恰該的。我們預了胸襟去聽去試，就 應預了胸襟去變陣。做了該做的事，就讓計劃有機地去發酵吧！我自詡為策聽．總不策劃人。我的團隊 變成策聽・不策劃團隊。

我們手執五個空間設計圖樣、修訂了十五個項目簡介檔案、撮合了八個館長十二個生活家、聯繫了四 間大專院校五位學者一百多個學生、開了不下六十次會、出了七十九個拍攝日、動員了五十名義工…… 機關算盡，然後放手！

心態經過這樣調整之後，辦公室氣氛依然熾熱，死線仍舊緊張，要求照樣很高。但是我們每天是以仰望 龍捲風一樣的表情，去蒐集一連串對話與共創的結果，每天都喜出望外。

策聽・不策劃到付梓之際，只是完成了初階，很多工作還在後頭。我要感謝策聽的第一個夥伴香港藝術 館對我們團隊的信任，更要感激各合作單位樂意共譜未知。

冒險探索往往帶來洞見。許多時候，成長不一定要高一吋。成長有時是自己矮了一吋， 卻添了兩吋的 闊度。

毛詠仙 康樂及文化事務署 市場及業務拓展總監

第 69 頁 Page 69

Listening • Non-curating How do you sell a museum? Classical tourism economics of supply/demand doesn't cut it in a world which generates 2.5 million terabytes of information every single day: in the commercial world, where most of my team and I learned our craft, we use consumer science to get our messages in front of the right people at the right time, grab attention, arouse emotions, tell a story.

We brainstormed a theme: “Listening”; and created a robust customer funnel. We on-boarded an outstanding team of curators to develop a deep listening approach; a design thinking consultant to establish a prototype audience; volunteers to conduct field analysis, and fashioned, as if moulding from zisha clay, a brilliant set of Life Artists who would respond and promote our wares… and with everyone in their place, we were ready, awaiting the disruptive innovation to generate the measurable outcomes which would indicate our success.

But our plans had to change once we started talking to our Life Artists. These homo sapiens, full of emotions and intelligent thoughts, desires and dreams, random impulses, imaginations which could not be measured by any kind of P&L. What a mess! But a voice in my head told me, we could actually start listening to them, just as we framed it in our promotional materials.

And so our campaign exploded with a genesis of its own. I learned, I hope, some humility along the way and we shifted to an entirely natural and organic approach. We revised all the project profiles, brought in five more scholars and more than 100 students to generate more discourses. We designed a transparent cabin outside the museum to be a “Listening Lab”, invented workshops and immersive performances. After all that could be done was done, we simply let it flow. I gave myself an assumed title: Listening • Chief non-curator… and my team, hence, Listening • Non-curating team. We stopped to open our minds, not in the usual sense of campaign calibration feedback or A-B testing, not bound by any alphabet… just open to the raw pre-linguistic emotion inspired by our dozen showcase artworks.

As a professional marketer, our new mentality feels precarious, yet exhilarating and alive at the same time. We’re truly listening: and with every encounter and exchange, we can see the results popping. It’s a tangible difference in life and spirit, and I would like to thank HKMoA for being an excellent friend to this process. I would also like to thank our partners for their willingness to embrace the hurricane and share the unknown.

Adventure always brings new insights. Growth doesn’t have to be vertical… our foundations have grown broader with the experience in what is, I hope, a fitting salute to our new flagship.

Cynthia Mo Marketing and Business Development Director Leisure and Cultural Services Department

第 70 至 71 頁 Page 70 to 71

策聽實驗室

藝術於你是甚麼？ 我們期待不同的參觀者到訪，我們更期待提升大家對博物館的興趣。一連串的工作坊讓藝術藏品與設 計思維相遇。我們邀請參加者欣賞香港藝術館一眾館長的專業推介，同時分享個人的所見所感；片言 隻字，一一透過心聲泡泡、相片和圖畫來傳遞這些珍貴的回饋。

Listening Lab

What is art to you? To engage our visitors and learn more about museum interaction, we created a series of art-related workshops centred around “design thinking”. We prompted our guests with our curators’ expertise on the core HKMoA collections and then opened our minds to the response. Their messages, in speech bubbles or through photos and drawings, became part of our Listening Lab collection.

第 72 至 75 頁 Page 72 to 75 精采呈現 1

戲劇工作者何浩源與他的好即興競技喜劇團隊，透過觀眾帶來出其不意的題目，演員即時創作互動即 興喜劇，呼應來自《雙燕》的啟發，用笑聲演繹對藝術藏品的百般感受。

Manifestation 1

Echoing the inspiration of Two swallows, Mill Ho and Yes Improv @ Comedy Battle generate a scene from nothing but their imaginations and the audience’s unexpected ideas… the creativity behind the art collections becomes a seed for spontaneous entertainment.

第 76 至 79 頁 Page 76 to 79

精采呈現 2

CCDC 舞蹈中心的專業排舞師與一眾年輕舞者，隨著微風和陽光化身種子破土萌芽，以肢體展現綻放 的花朵，跳躍出五彩十二花神杯的美態，讓觀眾一起經歷春夏秋冬的交替。

Manifestation 2

Through the emotion and expression of CCDC talents, the unyielding ceramic forms of the cups, Twelve cups with representing flowers of the months in wucai enamels, melt into living breathing choreographies. Imagine the beauty of the flowers, painted in wucai enamel, expressed through the movement and lifeblood of dance… from spring to winter, they sprout, thrive and hibernate again.

第 80 至 83 頁 Page 80 to 83

精采呈現 3

由鄧慧中和幾位音樂人組成的「自游人」，為了陳福善的《聖誕老人拜訪圖》所觀察的香港而創作《觀 漁聽港》。作品反照出陳氏畫中的富想象力、夢幻、奇異、扭曲、貪玩的世界；以小號、圓號、笙、箏 和敲擊樂器，以及香港藝術館周圍採集的聲景製作而成。

Manifestation 3

Hong Kong ensemble Chiyauyan created Flux in response to Luis Chan's Santa Claus visiting my studio. Flux expresses the dreamlike flow of Chan’s painting, bringing the bizarre, twisted and playful world to life with trumpets, horns, sheng, zheng and percussion. The piece employs soundscapes recorded around HKMoA to add a sonic texture and shape unique to Victoria Harbour.

第 84 頁 Page 84

設計思考

聆聽，蘊含著深層次的意義。透過聆聽，人會展現出同理心——站在對方立場、嘗試設身處地感受對方 的處境。當聆聽與博物館相遇，這可以引領訪客重新思考；當聆聽與香港藝術館相遇，藝術到底對他們 「說」了甚麼？又可以讓我們了解，訪客是如何沉醉在藝術家的創作旅程之中。

這次能夠與康文署市場及業務拓展組以及一眾負責「策聽」活動的義工合作，並且能夠應用到設計思 考的方式，我感到十分榮幸 。實踐聆聽的方法有很多，而採用設計思考的方式，好處是讓訪客接觸到 聆聽的最真實之處——「代入感」。這代入感主要體現於訪客對藝術作品的「參與」與「專注」，讓他 們自己化身為策展人或藝術家，設身處地感受當中的喜悅和滿足，從而產生共鳴。

當然，不只訪客可從「策聽」中獲得不一樣的體驗，我們亦可以同時重新觀察訪客，看他們對於藝術、 對於藝術家表達出來的信息有何反應，甚至可因而重新考量，重新定義我城擁有著怎樣程度的藝術鑑 賞文化。

黃毅之 香港知專設計學院 設計思考課程主任

第 85 頁 Page 85

Design Thinking

Listening has a deep meaning for it represents empathy for someone’s situation, feeling in context. This is a bold topic for the engagement activities of the re-opening of HKMoA. It leads participants to rethink how art speaks to them and how we immerse ourselves in the artists’ creative journey.

It is my honour to partner with the Marketing and Business Development Section of LCSD as well as the volunteers who will lead the “listening” events by engaging a design thinking approach.

Among different methodologies in the participation of listening, design thinking approach has its merit to let the participants adopt the authentic meaning of listening — empathy.

Empathy here means that by engagement and immersion, we could embrace the joy and the satisfaction that the curators or the artists have experienced.

We could readdress how the audience respond to the message of art, as well as the artists, and we could revisit how might we redefine the culture of art appreciation in this city.

Edwin Wong Programme Leader, Design Thinking Hong Kong Design Institute

第 86 頁 Page 86

有趣又具意義的博物館營銷研究

我們的日常消遣，一般都離不開電影、美食、購物等，「參觀博物館」似乎不在此列；我每次出外旅遊， 都特別喜歡參觀博物館——這是了解並欣賞當地文化的有效方法。參觀博物館的本質其實是由多方共 同建構的體驗。根據讀者反應理論所強調的讀者與文本互動時引起的作用，文本的意義，並不局限於 作者的想法，更在於讀者於闡釋文本時的體驗；置之於博物館，就是展品本身所蘊含的意義，以及展品 成為訪客投射個人情感的媒介。

「博物館」是一個非常廣闊的範疇，與營銷相關的研究可衍生許多主題。2008 年，我獲得澳門文化局 的學術資助，展開了博物館營銷研究計劃，主題為「客戶關係中的營銷策略和服務創新」。那一年間， 我參觀了澳門的各個博物館，更訪問了博物館的策展人、專門安排團體參觀博物館的組織代表、中學 校長等，又在各個博物館的入口進行研究。此後，又在 10 年間參與了一項比較香港和澳門遊客「在參 觀博物館時有何期望與看法」的研究；我跟我的同事還協助來自英國公開大學的學者，進行不同文化 中的博物館營銷研究。

來到今年，我很高興我和我的團隊有機會跟康文署市場及業務拓展組合作研究，一同努力把重新開幕 的香港藝術館帶到大家眼前。為此，市場及業務拓展組在藝術館附近設計了一個策聽實驗室，讓訪客 在正式參觀藝術館以前，可先在這裡參與有關藝術的互動節目。為甚麼要設立策聽實驗室呢？根據接 近律，兩個原本獨立的概念或活動，只要在時空上愈接近，便愈容易令人產生聯想，甚至會把其中一邊 的記憶延伸至另一邊；在營銷研究中，形象移植理論就是衍生自接近律，用以解釋為何消費者對一個 物件、一個地方，甚至是一個概念的形象與聯想，最終會轉移到另一個獨立的實體之上。參考這個理 論，策聽實驗室就是一個方便我們考察訪客參觀博物館時參與順序（sequence of engagement）的地 方。我們相信訪客參觀博物館時，會產生出兩種不同層次的滿意度，除了對是次參觀的滿意度外，還有 對生活的滿意度——當欣賞和浸淫在藝術時，自然會提升他們的文化修養並增強其自我滿足感；再者， 訪客的滿意度亦不局限於消費層面，甚至可以加強他們自我的幸福感。根據文獻所言，這一切的滿意 度能否提升，往往取決於使用者準備度（customer readiness）。因此，我們在策聽實驗室主力研究的 就是使用者準備度，無論對學術界還是博物館界來說都甚具開創性，相信我們的研究結果，必定有助 學術界和政策制定者訂定日後之推廣策略。

蕭霍綺文博士 香港浸會大學 市場學系教授

第 87 至 89 頁 Page 87 to 89 Museum marketing research is fun and meaningful

What do you do during your leisure time? Watching movies, going for dim sum, or shopping at a grand shopping mall are common activities most Hong Kong people tend to enjoy. A museum visit is relatively seldom on the agenda. Whenever I travel overseas, I like to visit local museums since it is an effective way for me to understand and appreciate the local culture of particular country. Visiting a museum is a co-production customer experience. As a parallel in literature, reader-response theory highlights the active role of the readers in their interaction with a literary text. The meaning of a text does not only reside in the intent of the author, but also in the readers who bring their own experiences during interpretation.

Many marketing-related research topics could be conducted in the museum context. I started my museum marketing research back in 2008 when I received an academic fund from the Cultural Bureau, Macau. The topic was “Marketing tactics and service creativity in customer relationship”. I was excited to be able to visit a variety of museums in Macau in one single year. At that time, I interviewed many key informants such as the curators of museums, the representatives of organizations that arranged group tours to museums and the principals of secondary schools. We also did a quantitative study of museum visitors at the entrance of various museums. I was amazed by the commitment of the Macau government in developing its museum business. In the past ten years, I have been involved in a study that examined the expectation and perception of museum visitors, comparing Hong Kong and Macau visitors. My colleagues and I also engaged in a cross-cultural museum marketing study collaborated with a scholar from the Open University in the United Kingdom.

I am so pleased that my colleagues and I have an opportunity to be involved in a research study collaborating with the Marketing and Business Development Section of LCSD. To create interest in the market for the re-opened HKMoA, MBDS had developed an Outpost near HKMoA in which visitors will be engaged in various activities. Those activities are related to art and are interactive. According to the law of contiguity, when two ideas or events occur in spatiotemporal proximity, individuals form associations between those ideas or events such that the subsequent occurrence of one tends to elicit memories of the other. In marketing research, image transfer theory, derived from the law of contiguity, explains that the image or associations of an object, place, or idea may be transferred to another entity depending on various factors, including the nexus between entities that are formed in consumers’ minds. Drawing on image transfer theory, our study aims to examine the sequence of engagement at the Outpost on the museum visit experience. We argue that there are two levels of satisfaction, namely satisfaction towards the visit and life satisfaction. Appreciating and immersing in art and culture can increase customer cultural capital and enhance self-fulfilment. Customer satisfaction is not limited to consumption satisfaction but how their subjective wellbeing may be enhanced. Echoing previous literature, the positive impact of customer participation on satisfaction is dependent on customer readiness. Therefore, we shall investigate the customer readiness as a moderator in the model. This is a pioneering study both in the academic and in the practitioner fields. We believe that findings advance the understanding of the academic and policy makers in developing future promotion strategies for cultural visits.

Dr. Noel Y.M. Siu Professor, Department of Marketing Hong Kong Baptist University

第 90 頁 Page 90

鳴謝 Acknowledgement

學術團隊 Academic Partners

香港知專設計學院 Hong Kong Design Institute 設計思考課程主任黃毅之 Edwin Wong, Programme Leader, Design Thinking

香港浸會大學工商管理學院 School of Business, Hong Kong Baptist University 市場學系教授蕭霍綺文博士 Dr. Noel Y.M. Siu, Professor, Department of Marketing 市場學系副教授何嘉恩博士 Dr. Candy K.Y. Ho, Associate Professor, Department of Marketing 市場學系副教授張軍鳳博士 Dr. Tracy J.F. Zhang, Associate Professor, Department of Marketing 市場學系講師關可欣博士 Dr. H.Y. Kwan, Lecturer, Department of Marketing

生活家 Life Artists

陳慧姬 Maggie Chan 不動明王 Vincent Cheng 張銳 Horry Cheung 江嘉玲 Gia Toscah Gonzales 江翠思 Jessie Jireh Gonzales 關琬潼 Shadow Kwan 黎熾明 Tony Lai 世良田紀子 Serada Noriko 尹漢彥 Wan Hon-yin 茹國烈 Louis Yu 第 91 至 93 頁 Page 91 to 93

生活家和夥伴 Life Artists & Friends

何浩源與好即興競技喜劇 Mill Ho & Yes Improv @ Comedy Battle 周千業 TT Chau / 展晴 Cyrus Cheng / 張翼東 Antony Cheung / 何霑 Jim Ho / 曾穎倫 Alan Tsang / 謝文馨 Step Tse

梁曉端 @ 城市當代舞蹈團 CCDC 舞蹈中心 Melissa Leung @ City Contemporary Dance Company CCDC Dance Centre 黃建宏 Kevin Wong / 馮澤恩 Jacky Fung / 鄧麗薇 Mary Jane Tang / 麥婉兒 Natalie Mak / 星級小舞 者（進階班 Little Star (Advanced)）/ 612 未來舞士（舞蹈培訓獎學金計劃-小學組）612 Mini Dancers (Dance Training Scholarship Scheme - Primary School)

鄧慧中博士及團隊 Dr. Joyce Tang & teammates 陳庭章 Tim Chan / 周肇軒 Wilson Chau / 許諾言 Niko Hui / 蘇陶 So To / 余梓朗 Fish Yu / 余穎欣 Yu Wing-yan / 翁聲雅 Rita Yung

邱誠武及香港大學表達藝術治療碩士課程師生 Yau Shing-mu & members from Master of Expressive Arts Therapy Programme, The University of Hong Kong 何天虹教授 Prof. Rainbow Ho / 許德城 Alex Hui / 葉小雅 Maggie Ip / Melissa Jupp / 李家銘 Carmen Lee / 練瑞文 Rosa Lin / 唐穎儀 Liz Tong / 丘愛暉 Fifi Yau / 楊蕙霖 Wynnee Yeung 第 94 頁 Page 94

www.museums.gov.hk/listening

生活家與香港藝術館藏品從相遇到相知，展開了一個個獨特故事。 請點擊以上連結觀看短片，讓他們告訴你，怎樣將藝術融入生活。 Click on the above link to view a series of videos about the Life Artists.

網址 Website: www.museums.gov.hk Facebook: Visit HK Museums 優遊香港博物館 Instagram: hkmuseums

第 95 頁 Page 95

策聽 • 不策劃團隊 Listening • Non-curating Team 市場及業務拓展組 Marketing and Business Development Section

康樂及文化事務署市場及業務拓展組出版 Published by Marketing and Business Development Section, Leisure and Cultural Services Department 香港出版 Published in Hong Kong 國際標準書號 ISBN 978-988-74294-1-8

受訪者所表達的意見純屬個人觀點，與康樂及文化事務署立場無關。 © 2020 康樂及文化事務署。版權所有，翻印必究。 The opinions expressed in this publication are the interviewees' own and do not reflect the views of the Leisure and Cultural Services Department. © 2020 Leisure and Cultural Services Department. All rights reserved.

策展人語 CURATORS:

目錄 Contents

題目 Title 頁數 Page

關聯昌畫室 The studio of Tingqua 01

天書 A book from the sky 02

五彩十二花神杯 Twelve cups with representing flowers of the months in wucai enamels 03

烏賊 Sepia 04

香港仔附近的瀑布 Waterfall at Aberdeen, Hong Kong 05

松石圖及行草書七言詩 Pines and rock & Poem in running-cursive script 06

題目 Title 頁數 Page

聖誕老人拜訪圖 Santa Claus visiting my studio 07

青花螭龍纏枝牡丹紋瓶 Vase with chi dragon and peony scroll design in underglaze blue 08

怒海浮沉 Boat people on the sea 09

廣州十三商館大火 Guangzhou foreign factories on fire 10

大曲壺 Large teapot with ribbed decoration and overhead handle 11

雙燕 Two swallows 12

館長介紹 13 Curators

第 1 頁 Page 1 這幅畫是我最喜歡的外銷畫之一，使你不懂得藝術或藝術史，仍可從 每個細節中找到趣味。 This is my favourite China trade painting: a small but powerful work which tells a lot cultural insight in every detail.

《關聯昌畫室》的尺寸不大，是關聯昌對自己畫室所作的描繪與再現。關聯昌又名庭呱，是十九世紀中 期、著名的中國外銷畫家之一，當時位於廣州同文街 16 號的關聯昌畫室，吸引不少西方人前來選購作 品，用作居所裝飾，或當作紀念品留念，相當受歡迎。在攝影技術才剛面世的年代，西方人都藉著外銷 畫認識東方世界。隨著外銷畫在清代的發展愈趨蓬勃，不少成名畫家紛紛僱用其他畫師或學徒來應付 大量訂單。畫中所見，三位畫師正襟危坐，用心地在作畫，牆上一幅幅作品，大概就是出自這些畫師的 手筆，靜靜地掛在牆上等待客人前來選購。仔細留意的話，畫師畫的是西洋畫，他們卻以傳統執毛筆的 手勢來運筆作畫，從側面反映出外銷畫盛行的時代，正是中西文化真正開始交流之開端。 China trade painting, or export painting, answered Western demand for images of China, providing a new platform for understanding the Orient. The studio of Tingqua is a small work but rich in detail. The painting gives insights into the development of export painting in the Qing dynasty, opening a window into the Canton studio of celebrated painter, Tingqua (Guan Lianchang). The painting shows Tingqua’s three artisans at work. The delegation of work was a customary practice: the most popular artists hired painters and apprentices to keep up with the booming orders. Works on the wall form a shop display awaiting customers. Small details reveal the business mode: the three artists are reproducing western-style work — yet they are holding the brushes in a very traditional Chinese manner. 莫家詠 香港藝術館總館長 Mok Kar-wing, Maria Museum Director Hong Kong Museum of Art 關聯昌（活躍於 1840 – 1870 年代） 關聯昌畫室 19 世紀中 Guan Lianchang (act 1840 – 1870s) The studio of Tingqua Mid-19th century 水粉紙本 17.5 × 26.5 厘米 香港藝術館藏品 AH1988.0012 Gouache on paper 17.5 × 26.5 cm Collection of Hong Kong Museum of Art AH1988.0012

第 2 頁 Page 2 置身於《天書》之中，恍如徜徉在文字汪洋一樣，感覺宏大肅穆，而 其顛覆性在每個時代的文明中都別具意義。 Stepping inside A book from the sky, one feels majestic and solemn. Its subversiveness is unique to the civilization of each era. 享譽國際的中國當代藝術家徐冰，擅長與文字相關的主題創作，其中於 1988 年在中國美術館首次亮相 的《天書》，即刻引起中外藝壇的熱議，成為他的代表作之一。早在 1986 年，徐氏已萌生了製作一本 「誰都讀不懂的書」的念頭。他一絲不苟地依從漢字的造字規則來仿製文字，最終花了四年時間創造 了 4000 多個偽漢字，並將這些偽漢字印製成線裝書，收納於核桃木盒裡。《天書》不只是一本「誰都 讀不懂的書」，而是通過手工實踐，莊重的裝幀及裝置陳列，進行的一場跨地域文化的對話。它顛覆了 人們既有的知識，帶引大家重新思考文字的意義。《天書》曾先後在多個國際大型展覽中展出，至 2000 年，香港藝術館獲北山堂基金會贊助，成功收藏了這件重要的作品。 Xu Bing is a Chinese contemporary artist renowned for his unique textual art. His masterpiece A book from the sky was unveiled in the National Art Museum of China in 1988, and the depth and perplexity of the work attracted critical acclaim from around the world. A book from the sky reconfigures fiction; in itself, the piece is an installation with magnificent books, intellectually mysterious while physically dominating its space. The text, at a glance, is tantalisingly real and yet, on closer inspection, confounds expectation. The very words themselves are fictional, made-up and unreadable. The characters are subversive to the established knowledge of people and lead the audience to rethink the meaning of text. Xu spent four years creating 4000 plus imaginary “pseudo-Chinese” characters by following the structure of Chinese characters, each carved onto a wooden letterpress block and forming volumes of Chinese thread-bound books, stored in tailor-made walnut wooden boxes. A book from the sky is not only unreadable, but it creates a cross-regional cultural dialogue through its handicraft, solemn binding and installation display. A book from the sky has been featured in many international exhibitions around the world; HKMoA acquired the work in 2000, with the support from the Bei Shan Tang Foundation. 俞俏 香港藝術館一級助理館長（香港藝術） Yu Chiu, Leona Assistant Curator I (Hong Kong Art) Hong Kong Museum of Art 徐冰（1955 – ） 天書 1987 – 1991 Xu Bing (1955 – ) A book from the sky 1987 – 1991 混合素材 1500 × 850 × 400 厘米 香港藝術館藏品 北山堂基金贊助 AC2000.0045 Mixed media 1500 × 850 × 400 cm Collection of Hong Kong Museum of Art Sponsored by Bei Shan Tang Foundation AC2000.0045

第 3 頁 Page 3 蒐集到一對，很好；蒐集到四隻，很幸運；蒐集到一套，非常難得。 Discovering even one matching pair of delicate Kangxi teacups is a blessing… building a complete set of twelve is an epic quest.

五彩十二花神杯是康熙年間（1662－1722）由景德鎮官窯所燒製的御製瓷器，整套 12 件，每一隻杯 均胎質纖薄、畫工細緻，以黑彩勾勒紋飾，並以鈷藍和其他彩料繪畫出代表各月份的時令花卉圖案，由 正月開始，依次為梅花、杏花、桃花、牡丹、石榴、荷花、月季、桂花、菊花、蘭花、水仙和蠟梅，風 姿各異。此外，杯身以青花楷書寫上五言或七言詩句，風花雪月，別具韻味；杯底亦以青花勾畫雙圈， 內書「大清康熙年製」兩行六字楷書款，乃詩書畫印結合的珍稀藏品。五彩瓷器屬於釉上彩裝飾，康熙 年間，陶工發明了釉上藍彩和黑彩，豐富五彩色調之餘，亦改變自明代以來青花五彩裝飾的主導地位， 兼具收藏及觀賞價值。時至今天，要蒐集到一套 12 隻完整的五彩十二花神杯，難度極高；承蒙羅桂祥 博士對茶具文物館的無私捐獻，讓參觀者透過這套藏品，一睹康熙時期的五彩之美。 The disarming charm of this twelve-month cup set hides well the secret of its immense value and rarity. The set of twelve tea cups was made by the imperial kiln in Jingdezhen during the reign of Emperor Kangxi (1662 - 1722). Artisans developed new radiant cobalt hues during this period, moving the traditional “underglaze blue and white” ceramic aesthetic forward and giving their images a fresh, precise definition. Each cup depicts flower of a particular month: prunus, apricot blossom, peach blossom, peony, pomegranate blossom, lotus, Chinese rose, osmanthus, chrysanthemum, orchid, narcissus and wintersweet… butterflies, dragonflies, rabbits and ducks cavort amongst the flowers. On the reverse is written a five- or seven-character poem; followed by a shang character, written as though it is a seal. Being a combination of painting poetry and calligraphy on porcelain, the set was a favourite of the Emperor. The marvel of this set lies in its unity: singular or paired ceramics are rare enough, given the centuries these fragile artefacts must survive; to collect a complete set of all twelve cups is a great achievement, and HKMoA owes a debt of gratitude to collector Dr. K. S. Lo, who spent years assembling this remarkable array. 林婉雯 香港藝術館一級助理館長（中國文物） Lam Yuen-man, Maria Assistant Curator I (Chinese Antiquities) Hong Kong Museum of Art 五彩十二花神杯 清 康熙（1662 – 1722） Twelve cups with representing flowers of the months in wucai enamels Kangxi period (1662 – 1722), Qing dynasty 陶瓷 各高 5 厘米 徑 6.5 厘米 羅桂祥藏品 香港藝術館 C1981.0245 Ceramics Each H 5 cm Dia 6.5 cm The K. S. Lo Collection Hong Kong Museum of Art C1981.0245 第 4 頁 Page 4 《烏賊》是高劍父有趣的破格嘗試，體現了他提倡新國畫的創作理 念。 Fresh ink: Sepia reveals Gao Jianfu's innovative endeavours for the Lingnan School.

《烏賊》是嶺南畫派大師高劍父（1879－1951）有趣的破格嘗試，這幅作品見證高劍父在改革中國畫 路上所作的思考和探索。高劍父巧妙地在迷漫的墨團中畫上若隱若現的烏賊觸鬚，以濃淡不一的水墨 渲染烏賊噴墨逃生的一刻，捕捉了烏賊的最大特色和最生動有趣的部分，情態活現，生動傳神，充滿濃 厚的生活氣息。高劍父初師從清末名畫家居廉（1828－1904）學畫，後曾在日本留學習東西洋繪畫技 法，在二十世紀初中國社會思潮激盪的年代，他積極辦報主張改革，倡導美育，推行中國畫的革新。高 劍父是近代最早嘗試融合中西和東洋畫法的先驅，他有深厚的傳統繪畫基礎，注重寫生，擅長寫意，風 格爽勁豪邁。高劍父以「折衷中西，融滙古今」為宗旨，提倡新國畫，保持傳統中國畫的筆墨特色，創 製出有時代精神的作品；他的創作題材不拘一格，凡是日常生活所遇事物皆可成為他繪畫的畫材。高 劍父和其胞弟高奇峯，及陳樹人依隨改革中國畫的理念創作，後人稱他們為嶺南畫派，他們的創作主 張影響了許多近代的畫家，被譽為「嶺南三傑」。 Sepia represents the first generation of the Lingnan School, a piece marked by Gao Jianfu’s visionary insight into the mechanics of art and the subtleties of convention. The painting bears faithful witness to the work of Gao Jianfu (1879 - 1951) on his path towards reforming Chinese painting. The artist skilfully painted the looming squid tentacles with delicate ink, and rendered the squid’s inkjet clouds in a watery ink capturing the most vivid and lively part of the squid in a very subtle way. Learning painting from Ju Lian (1828 - 1904) since he was 13, and later studying the techniques of the east and west in Japan, Gao became a reformist, politically, and brought his social philosophies into his painting, pioneering an integration of Chinese and Western style — all the time building on his classical education and skill at “traditional” painting, sketching and calligraphy. With the tenet of blending ancient and modern, Gao advocated a new style, whereby everything encountered, from a squid to an apple, could become a painterly masterpiece. His brother Gao Qifeng and his lifelong friend Chen Shuren wholeheartedly embraced the style, such that the trio became known as the “Three Masters of Lingnan”. 鄭煥棠 香港藝術館館長（中國文物） Cheng Woon-tong Curator (Chinese Antiquities) Hong Kong Museum of Art 高劍父（1879 – 1951） 烏賊 無紀年 Gao Jianfu (1879 – 1951) Sepia Not dated 水墨設色紙本立軸 135.8 × 69.1 厘米 香港藝術館藏品 FA1978.0026 Hanging scroll, ink and colour on paper 135.8 × 69.1 cm Collection of Hong Kong Museum of Art FA1978.0026 第 5 頁 Page 5 畫家捕捉了兩個世紀前的香港景象，見瀑布之美景、漁民之日常，凝 住的一瞬成為歷史的永恆。 First impression: Hong Kong’s beauty through arriving eyes two centuries ago.

《香港仔附近的瀑布》於約 1816 年創作，畫中有山有水，中央位置的一道瀑布更是攫人目光。這幅水 彩畫尺寸雖小，內容結構卻層次分明，觀眾的目光由美麗的瀑布下移至西方使節團的汲水艇，他們登 上汲水艇到瀑布取水；岸邊是正在捕魚的漁民。二百多年前，清政府實施一口通商政策，西方人只准在 廣州商館區與中國人進行貿易，香港便成了他們來華的必經之地。這幅畫不但是已知的第一幅香港圖 象紀錄，同時亦蘊含著西方人對香港的第一印象。時至今天，香港中西薈萃，畫中的香港仔瀑布，依然 晝夜不斷地淙淙奔流，只要到香港仔走一趟，即可找到其蹤影。 Waterfall at Aberdeen, Hong Kong is an important watercolour created in around 1816. The work is probably the earliest known painting depicting the scenery of Hong Kong, and the first contemporaneous view of Hong Kong through the eyes of a western visitor. The artist was probably stirred by the picturesque landscape of Hong Kong Island… our attention was surely directed at a most precious resource, fresh water, tumbling down the mountainside. This piece is more than a tourist snapshot, it’s history frozen. Two hundred years ago, the Qing court allowed Westerners to trade with Chinese only at a designated area in Canton. Hong Kong was therefore the staging point. The painting is modest in size, but the content is well-defined. We can see the watering vessel approaching the coast; the fishermen of Hong Kong’s ancestors; and the beauty of the waterfall and landscape against the sea. For historians and art lovers alike, the painting is a marvel: and best of all, the waterfall is still there, flowing as it was when the artist first took brush to canvas two centuries ago.

張珮儀 香港藝術館一級助理館長（節目推廣） Cheung Pui-yi, Terri Assistant Curator I (Extension Programmes) Hong Kong Museum of Art

威廉．哈維（1782 – 1857）（傳） 香港仔附近的瀑布 約 1816 William Havell (1782 – 1857 ) (attri.) Waterfall at Aberdeen, Hong Kong ca. 1816 水彩紙本 10.5 × 16 厘米 香港藝術館藏品 AH1964.0363 Watercolour on paper 10.5 × 16 cm Collection of Hong Kong Museum of Art AH1964.0363

第 6 頁 Page 6 藝術家的氣節與情操躍然紙上，決定了作品的深度。 The integrity and character of this Ming dynasty martyr run deep through a local collector’s pairing.

黃道周是明朝著名的書法家、藝術家，為了「反清復明」，他不惜置生死於度外，最後因被清軍俘獲而 就義殉節至死。《論語》有言：「歲寒，然後知松柏之後凋也。」黃氏以畫松石聞名，其錚錚鐵骨更如 寒冬中屹立的松樹，這種情操在《松石圖》中可窺一二。畫中有三棵松樹，位於中央的松樹筆直英挺， 其餘兩棵則顯得扭曲盤纏，投射了畫家剛直不阿的性格。而《行草書七言詩》則以三行結構組成直幅， 用筆流暢、筆墨有力，在在都表現出黃氏的磊落胸懷。這兩件作品皆藏於至樂樓，此乃本地建築商何耀 光的書畫收藏，他以「人品為第一義」的原則來選取藏品，所藏之書畫家向來都是備受推崇的清節忠 臣、孝子及遺民等，而黃氏更是其中之佼佼者。 Huang Daozhou was a famous calligrapher, artist and martyr of the Ming dynasty, slain by the invading Qing army in 1646 but leaving a rich legacy of moral integrity. The intertextuality of Huang’s calligraphy against his life and painting leaves a candid resonance, while the insightful pairing of Pines and rock and Poem in running-cursive script symbolises Huang’s own struggles. In the painting, we see three pine trees entwined: one shooting straight to the sky, tall and unburdened; the other two successively stunted, twisted, wizened, yet still sturdy and alive. The poem is bold, outspoken, and, when hanging side-by-side with the Pines scroll, we see the calligraphy visually aligned: three fluid trunks, drawn with a smooth, almost hurried, flow of ink and revealing confident penmanship. Pines and rock reflects the structure of an admirable human spirit: it recalls the saying from The Analects of Confucius: “Only when the year grows cold do we see that the pine and cypress are the last to fade.” Pines, those stalwart evergreens, were admired as symbols of people who maintain moral integrity and principles in the face of adversity — even when the adversity is a marauding army hell-bent on destroying every trace of life. The bold painting and fluid calligraphy are discrete pieces, perhaps created together, perhaps years apart (Pines was painted in 1634; Poem is undated), but their uniting by local developer Ho Iu-kwong reflects each in their best light. Ho’s criteria for art is, first and foremost, the artist’s character and moral integrity: fitting then, that Huang’s work should be a cornerstone of his collection. 鄧慶燊 香港藝術館館長﹙至樂樓﹚ Tang Hing-sun, Sunny Curator (Chih Lo Lou) Hong Kong Museum of Art 黃道周（ ） 行草書七言詩 1585–1646 Huang Daozhou (1585 無紀年 – 1646) Poem in running- 松石圖 Pines and rock cursive script 1634 Not dated 水墨絹本立軸 水墨紙本立軸 173.5 × 48.2 厘米 152 × 40.5 厘米 香港藝術館至樂樓藏品 香港藝術館至樂樓藏品 CL2018.0060 CL2018.0062 Hanging scroll, ink on Hanging scroll, ink on silk paper 173.5 × 48.2 cm 152 × 40.5 cm Chih Lo Lou Collection Chih Lo Lou Collection Hong Kong Museum of Hong Kong Museum of Art CL2018.0060 Art CL2018.0062 第 7 頁 Page 7 荒誕眾生相是現實，也是夢境。藝術家的突破，往往來自逼不得已的 自我發現。 Some say dreams continue when we awaken… but it takes an enlightened artist to see these absurd ethereal images in daylight.

陳福善是香港最具代表性的畫家之一，他一生自學，曾被人稱為「水彩王」，從英治時期的水彩風景畫 到上世紀六十年代以來的都市夢幻畫，從寫實到超現實，無不表現出其勇於突破自我的個性。箇中轉 變，可追溯至 1962 年，陳氏發現自己的作品並未入選香港博物美術館「今日的香港藝術」展覽，促使 他認真反思自己的創作方向，最終以超現實繪畫、夢幻、拼貼及拓印等西方現代藝術手法結合中國繪 畫元素，成功建立令人眼前一亮的新風格。像這幅《聖誕老人拜訪圖》，便見證了他這種擅於混搭中西 的創新精神。作品以中國傳統手卷形式呈現，畫中自由穿插著各種變型人物、奇幻生物，乃至造型奇特 的聖誕老人，結合鮮艷配色，荒誕諧謔溢於言表。這作品具備劃時代精神，感覺永不落伍。值得留意的 是，畫卷最後還有傳統國畫家的題字，包括陳氏的一眾好友趙少昂及方召麐等，反映他成功以超現實 創作搭建溝通中西藝術的橋樑。 Luis Chan’s early work earned him the reputation as “King of Watercolour” in Hong Kong. In spite of this renown and his status on the local scene, he found his own artworks rejected for the “Hong Kong Art Today” exhibition of the City Museum and Art Gallery in 1962. The rejection stunned Chan, and led him to deep introspection on his work. It was no longer enough, he concluded, to merely represent reality, to faithfully record colonial Hong Kong through trade-esque eyes. Chan began experimenting with fantasy and surrealism, and instantly struck mother-lodes of creativity and imagination with the genres. Santa Claus visiting my studio is a timeless example: the figures are a cocktail of the artist’s contemporaries, fantastic piscine beings and even a visiting Santa Claus, replete with off-brand colours and exaggerated pose. The inscriptions of Chan’s painterly friends Chao Shao-an and Fang Zhaoling reflect Chan’s successful attempt to mingle Chinese artistic elements into his work and the acceptance of this surrealist bridge into the modern art world. 鄧民亮 香港藝術館館長（現代及香港藝術） Tang Man-leung, Raymond Curator (Modern and Hong Kong Art) Hong Kong Museum of Art 陳福善（1904 – 1995） 聖誕老人拜訪圖 1981 Luis Chan (Chen Fushan) (1904 – 1995) Santa Claus visiting my studio 1981 水墨設色紙本手卷 45 × 2039 厘米 香港藝術館藏品 AC1984.0036 Handscroll, ink and colour on paper 45 × 2039 cm Collection of Hong Kong Museum of Art AC1984.0036

第 8 頁 Page 8 青花瓶驟眼看似乎毫不起眼，翻至瓶底，卻頓時發現其珍貴獨特之 處。 The magical moment when a humble appraisal turned into the discovery of a priceless survivor.

青花螭龍纏枝牡丹紋瓶於明代天順年間製作，此瓶外型獨特，瓶頸修長，至肩部漸寬，及至腹部又扁又 圓，斂足而收。瓶頸位置以浮雕技術貼塑了一條鈷藍小龍；空隙處繪以金錢、書畫、蕉葉及方勝等雜 寶，至腹部繪畫了青花螭龍纏枝牡丹紋，別具宣德時期遺風。因時局動盪，景德鎮官窰曾於明正統、景 泰及天順年間大量減產，形成了中國陶瓷史上的「空白期」；即使仍有不少民窰私下持續運作，但燒造 瓷器數量不多，有書款的瓷器更為罕見，這個青花瓶無疑是難得的珍品。1989 年，香港藝術館的辦 公室仍位於香港大會堂，當時負責中國文物部門的何金泉館長獨具慧眼，收購了一位有心市民的藏 品，正正是這個兼具藝術欣賞及學術研究價值的「天順」青花瓶。此瓶口緣附近呈明顯破損，缺釉處 露出胎土，驟眼看似乎毫不起眼，但翻至瓶底，「天順伍年」的字款躍入眼簾，即發現其珍貴獨特之 處。 Vase with chi dragon and peony scroll design in underglaze blue is a rare specimen from the most shadowy period of the Ming dynasty ceramics. Political instability during the turbulent reigns of Zhengtong, Jingtai and Tianshun between 1436 and 1464 interrupted production at the imperial kilns. The period is known as the Interregnum period in the history of Chinese ceramics. While a few private kilns continued to operate, production declined and dated ceramics are extremely rare. When a member of the public brought this piece to the Hong Kong Museum of Art at City Hall in 1989, Ho Kam-chuen, former Curator of the Chinese Antiquities collections was curious: damage to the neck probably rendered the vase worthless, but certainly the piece was unique and beautiful, with its long bottleneck, cobalt blue decoration, high relief applied chi dragon, and intertwining peonies… and then, turning to the underside, Ho noticed something extraordinary inscribed on the base: a ring inscription bearing the date of the “Fifth Year of Tianshun”, which would date the piece to 1461 and reveal it as a rare dated piece of the Interregnum period… with this discovery, the improbable five-century journey of the fragile peony and the chi dragon vase came to an end and the vase landed safely at HKMoA. 林婉雯 香港藝術館一級助理館長（中國文物） Lam Yuen-man, Maria Assistant Curator I (Chinese Antiquities) Hong Kong Museum of Art 青花螭龍纏枝牡丹紋瓶 明 天順五年（1461） Vase with chi dragon and peony scroll design in underglaze blue Dated the 5th year of Tianshun period (1461), Ming dynasty 陶瓷 高 31.3 厘米 徑 10.4 厘米 香港藝術館藏品 C1989.0115 Ceramics H 31.3 cm Dia 10.4 cm Collection of Hong Kong Museum of Art C1989.0115 第 9 頁 Page 9 上一輩人，不少都是從戰亂中走過來，有他們的堅忍，才成就了今天 的我們。 Many of our society’s elders come from war or hardship: their perseverance through adversity is the foundation of our world today.

方召麐是首位於香港大會堂舉行個展的女藝術家，她的《怒海浮沉》描寫越南船民坐船來港避難的境 況，每一筆、每一劃，無不反照畫者對個人身世的感慨。經歷抗日戰爭和國共內戰，於 1948 年，方氏 帶著八個孩子逃難來港，她卻沒有放棄藝術和學術，先後在本地及英國讀書，又跟隨趙少昂及張大千 等大師學習，更從書法中擷取養分，慢慢發展出別樹一幟的畫風，生活感強，令人動容。這作品就以各 種顏色來描繪浪濤、船隻和乘客，只要聚焦船上細節，更發現方氏仔細地繪畫了小雞和蘋果，畫風豪放 粗樸卻不失童趣。除了繪畫，最惹人注目的還有她在畫上的題字，用筆飽滿有勁，行文抒情激昂，乃方 氏作畫一段日子後，受電影《投奔怒海》啟發的所思所想。《怒海浮沉》以繪畫和題跋記錄了這一段香 港的歷史。 Fang Zhaoling is the first female artist to hold a solo exhibition at City Hall: her Boat people on the sea is a powerful layered commentary on the Vietnamese refugees who sought asylum in Hong Kong in the 1970s and 1980s. The plight of the refugees touched many artists and activists, and struck a deep chord within Fang’s own experience as an immigrant. Every brush stroke seems to reflect the painter’s personal life: she experienced the Second World War and the Chinese Civil War; in 1948, Fang took her eight children to flee to Hong Kong and despite the hardships, she maintained her artistic training, and restlessly practised calligraphy following Chao Shao-an and Zhang Daqian to learn different Chinese paintings styles. The sense of life’s tenacity through hardship is moving: the work depicts waves, boats, refugees and their meagre possessions — nets, chickens, apples — in tragic detail. The style is unconstrained, but never messy. And then there’s the inscription: an energetic and passionate text, scrawled with undisguised anger over the sea’s raging waves, the inspiration for Ann Hui’s movie Boat people. By focusing traditional Chinese literati painting onto contemporary social issues, Fang’s work shows a boldness and innocence which speaks at volume.

鄧民亮 香港藝術館館長（現代及香港藝術） Tang Man-leung, Raymond Curator (Modern and Hong Kong Art) Hong Kong Museum of Art 方召麐（1914 – 2006） 怒海浮沉 1981 Fang Zhaoling (1914 – 2006) Boat people on the sea 1981 水墨設色紙本 68.5 × 138 厘米 香港藝術館藏品 AC1994.0047 Ink and colour on paper 68.5 × 138 cm Collection of Hong Kong Museum of Art AC1994.0047 第 10 頁 Page 10 這組油畫就像一齣穿越劇，帶人時光倒流回到過去，置身商館區大火 現場的一刻。 Watch the drama of a major conflagration unfold with this trade painting trilogy.

《廣州十三商館大火——大火初起》記錄了 1822 年廣州外國商館區起火的第一階段，這幅畫連同《廣 州十三商館大火——烈火沖天》及《廣州十三商館火大——火趨熄滅》組成一組三幅的外銷連環油畫。 在攝影技術還未出現的時代，畫家透過這組油畫描繪了大火現場的所見所聞，如實地為歷史作見證。 順時序看，《大火初起》時正值農曆九月十八日，一輪明月掛在夜空之中，與商館區以北的紅色火焰互 相輝映，有人著力救火，有人幫忙提燈，也有人議論紛紛，畫作細緻地呈現了群眾的百態。至《烈火沖 天》燒出濃艷火焰，濃煙覆蓋天空，人人束手無策，只能眼睜睜的看著《火趨熄滅》，火舌夷平前排商 館，到處頹垣敗瓦。外銷畫對歷史及藝術研究來說，實在彌足珍貴。 A dramatic series of China trade paintings capturing the historic fire which swept through the foreign trade district of Canton in 1822. In an era before photography, the artist recorded a time-lapse of the fire, with three oil paintings — Beginning, In full blaze and Under control — faithfully accounting every detail down to the phase of the moon and the reactions of bystanders, merchants and firefighters. Beginning is the first of the trilogy: we see the bright gibbous moon, dating the piece to the 18th day of the 9th Chinese lunar month. The blaze was contained to the north of the district, yet was already deadly, the clouds tinged red, every figure on the dockside and aboard the lighters and sampans turned towards it. Many were pointing, as if to direct hope or sound the alarm. The blaze swept through the factories. By daybreak, billowing smoke obscured the horizon as the entire waterfront succumbed to the intense flames. Those bystanders who could stand the heat were helpless; as the final frame shows, the docks were devastated: buildings destroyed, crowds gathering to assess the loss. News of the fire travelled west fast, with the help of China trade painting. 張珮儀 香港藝術館一級助理館長（節目推廣） Cheung Pui-yi, Terri Assistant Curator I (Extension Programmes) Hong Kong Museum of Art

佚名 Anonymous 廣州十三商館大火 Guangzhou foreign – 大火初起 factories on fire – 烈火沖天 – Beginning – 火趨熄滅 – In full blaze 1822 – Under control 油彩布本 1822 各約 27 × 38 厘米 Oil on canvas 香港藝術館藏品 Each ca. 27 × 38 cm 何東爵士捐贈 Collection of Hong Kong AH1964.0031 Museum of Art AH1964.0032 Donated by Sir Robert Ho AH1964.0033 Tung AH1964.0031 AH1964.0032 AH1964.0033

第 11 頁 Page 11 大曲壺擁有一種魔力，它會引領你的目光，隨壺身的線條流動轉向， 迷醉其中。 Follow the lines: this purple clay pot has the magical logarithmic power of shells, whirlpools and galaxies.

自十六世紀以來，宜興紫砂茶壺一直深受文人墨客追捧，紫砂陶泥具有密度高的特點，有效保存茶湯 的色香味，加上以手工成型的精湛技法，更令其在中國陶瓷史上佔一席位。大曲壺由宜興紫砂藝人汪 寅先和中央工藝美院教授張守智攜手創製而成，是一件精采的聯合創作，壺身銜接自然、弧線流暢，極 具時尚氣息，為當代陶藝重新注入活力。1979 年，著名紫砂茶具收藏家羅桂祥博士到宜興參觀紫砂陶 藝工場，眼見紫砂業逐漸式微，遂提倡恢復明清兩代紫砂藝人在壺上刻款的做法，除了昇華匠心亦提 升了作品的收藏價值。 Since the Song dynasty, zisha teapots from Yixing have been popular. Zisha — “purple clay” — has a density and porosity perfectly suited to preserve the colour and fragrance of brewed tea, while its plasticity and cohesiveness give it a special place in pottery history. Our Large teapot with ribbed decoration and overhead handle is special for a number of reasons. First, it’s a collaborative piece, a co-creation of Wang Yinxian (a master of Yixing pottery) and Professor Zhang Shouzhi, a scholar of the Central Academy of Arts and Crafts in Beijing. Next, while fashioned with the ancient material of the Yixing tradition, there’s nothing old-fashioned about the piece: its chic design is inspired by nature’s geometry, the logarithmic spirals of shells. A Hong Kong collector, Dr. K. S. Lo, is credited with reviving the near-extinct art of zisha ceramics after his visit to Yixing in 1979. Lo had found the industry in disarray — he shared with potters the worldwide respect held for the Yixing ceramics, and advised potters to restore the Ming and Qing traditions of adding a personal seal on each piece, taking responsibility and pride in the work; a small step which is believed to have resurrected the craft. 莫家詠 香港藝術館總館長 Mok Kar-wing, Maria Museum Director Hong Kong Museum of Art

汪寅仙（1943 – 2018）、張守智（設計）（1932 –） 大曲壺

1993 Wang Yinxian (1943 – 2018), Zhang Shouzhi (Designer) (1932 – ) Large teapot with ribbed decoration and overhead handle 1993 陶瓷 高 16.8 厘米 闊 20.8 厘米 羅桂祥藏品 香港藝術館 C1994.0082 Ceramics H 16.8 cm W 20.8 cm The K. S. Lo Collection Hong Kong Museum of Art C1994.0082 第 12 頁 Page 12 一道平常人家的白牆，透過大師的慧眼，頓時變得動人心弦。 An unnoticed back wall becomes an artistic turning point through the eyes of a master.

中國著名藝術家吳冠中生於江蘇，對江南題材情有獨鍾，尤其是詩情畫意、氣韻萬千的江南水鄉，在他 筆下活靈活現。這位繪畫大師更利用中國繪畫的留白的手法，結合荷蘭畫家蒙特利安的平面分割構圖， 實踐「中國畫現代化」的理念，這種處理更凸顯出江南水鄉空靈超脫之美。在多幅以江南入畫的作品之 中，《雙燕》乃吳氏的一生最愛。作品以黑白橫直的簡約線條見稱，而背後亦有一個意想不到的小故 事。上世紀八十年代，吳氏帶同學生到江南一帶寫生，在寧波登上回程火車時，一回頭卻發現對岸民居 的牆上有這一片白色，頓時為之震撼。吳氏為了捕捉這片純粹的白的美感，立刻與一位學生即興速寫 起來，完成畫作後，二人為了追趕火車而拔足狂奔，途人不知就裡還以為發生了劫案。一幅經典作品的 誕生，往往來自創作人的一瞬觸動和堅執，此作正是一例。 A work of Chinese art with roots in Dutch modernity and railway serendipity, the simple geometric lines and minimalism of Wu Guanzhong’s classic distil the modernisation of Chinese painting with just a few brush strokes. The tree and the swallows are quintessentially “eastern”, while the planes and lines of the white dwelling house synthesise Piet Mondrian’s geometric work. The piece is a favourite of the artist, who considers it the most representative work in his oeuvre. The inflexion west was swift and sudden: upon boarding a train with his art student at the old Ningbo train station, Wu saw the dwelling house behind the railway tracks. The whiteness of the wall was startling, a humble wall overlooked by millions yet Wu simply had to paint it there and then. He rushed to make the painting; and barely made it back to the train in time. Passers-by believed there had been a robbery, seeing the pair run to the train… Wu’s artful smash-and-grab remains a treasure to this day. 司徒元傑 香港藝術館首席研究員（至樂樓及吳冠中藏品） Szeto Yuen-kit Chief Curator (Chih Lo Lou & Wu Guanzhong Collections) Hong Kong Museum of Art

吳冠中（1919 – 2010） 雙燕 1981 Wu Guanzhong (1919 – 2010) Two swallows 1981 水墨設色紙本 69 × 138 厘米 香港藝術館藏品 吳冠中先生及其家人捐贈 FA2002.0006 Ink and colour on paper 69 × 138 cm Collection of Hong Kong Museum of Art Donated by Mr Wu Guanzhong and his family FA2002.0006 第 13 至 14 頁 Page 13 to 14

次序由左至右:

鄭煥棠 香港藝術館館長（中國文物） Cheng Woon-tong, Curator (Chinese Antiquities), Hong Kong Museum of Art

俞俏 香港藝術館一級助理館長（香港藝術） Yu Chiu, Leona, Assistant Curator I (Hong Kong Art), Hong Kong Museum of Art

莫家詠 香港藝術館總館長 Mok Kar-wing, Maria, Museum Director, Hong Kong Museum of Art

張珮儀 香港藝術館一級助理館長（節目推廣） Cheung Pui-yi, Terri, Assistant Curator I (Extension Programmes), Hong Kong Museum of Art

司徒元傑 香港藝術館首席研究員（至樂樓及吳冠中藏品） Szeto Yuen-kit, Chief Curator (Chih Lo Lou & Wu Guanzhong Collections), Hong Kong Museum of Art

鄧民亮 香港藝術館館長（現代及香港藝術） Tang Man-leung, Raymond, Curator (Modern and Hong Kong Art), Hong Kong Museum of Art

林婉雯 香港藝術館一級助理館長（中國文物） Lam Yuen-man, Maria Assistant Curator I (Chinese Antiquities), Hong Kong Museum of Art

鄧慶燊 香港藝術館館長（至樂樓） Tang Hing-sun, Sunny, Curator (Chih Lo Lou), Hong Kong Museum of Art Before I forget 茹國烈 Louis Yu

第一節 我是林曉 1

今天，是 1982 年 7 月 10 日。

我是林曉，今年十六歲，中五剛畢業，正在等待中學會考成績放榜。我一個人在家，對著一大堆考試 參考書、筆記簿，決定要丟掉。

考完這個試，這些就不需要了，腦袋塞滿的東西，都可以統統忘記掉。

整個中學期間，我都在迷上和學業無關的東西，首先是上聖堂，想過要當神父。同時我亦讀很多小 說，想要當作家。還有，我亦是天文學會會長，夢想當天文學家。到現在唸完中五了，我又迷上新的 東西，有同學買了一部雅達利新款電腦，我想自己學寫程式，自己設計電腦遊戲。

很多人說我們要準備進入社會工作了。要認真想想未來。

未來？

未來是，今天下午要去逛黃金商場，看看新款的波鞋和翻版個人電腦，順便買些東西，準備星期日和 同學出海玩，很多人都去，聽說有些人還會帶女朋友。

電視新聞在報道越南船民問題，有個人說很多船民遇上海盜，被推入海，最終被魚吃掉。

被魚吃掉？

這個時候，電話響起來。

「你是林曉嗎？」

「是。」

沉默了一陣，那邊好像在深呼吸。

「你好，請問，你那邊是 1982 年嗎？」

「你說甚麼？」

「是的。」

「幾月？」

奇奇怪怪的。搞甚麼？

「你是誰？」我說。

那邊是中年男人的聲音，應該不是同學，是不是學校的老師、神父、修士？沒有可能。語氣有點猶豫 和緊張。

「我是林曉。從 2019 年打電話來。」

我呆了一陣，四週一望，我坐在家，清清楚楚，牆壁上的鐘指著中午一點十分，窗外陽光燦爛。究竟 是甚麼回事？

「你說你是我？」

「我是 2019 年的你。」

「噢，是嗎？那你想怎樣？」我肯定這是惡作劇。

「我想認識你。」

「這一點也不好玩。」

「我知你會覺得很荒唐。但我真的是你。」

「你剛剛說想認識我，你是變態。」

「我記得一些，也忘記了一些，三十幾年前了。」

「你忘記了以前的自己？」

「你可以告訴我？」

「我不想告訴你，不如由你告訴我，未來是怎樣的。」

第二節 我是林曉 2

我開始失憶。

朋友都說這是正常的，一般人從四十五歲開始，記憶就變差。這個說法也沒錯，我的記性從來不好，

常常在洗澡時忘了自己洗過了頭沒有，也常常忘記自己把車停了在停車場哪一層，那很平常。直至有

一天，我回到公司，在大門的密碼鎖前，腦袋一片空白，我忘記了我每天都要用幾次，用了好幾個月

了的密碼。那是我第一次覺得擔心，那是五六年前。

那感覺是這樣的，以前你想記得某個人的名字，你在腦海中找尋，會有愈找愈近，快到嘴邊了的感

覺。現在有時，同樣這個腦海，你愈急著要找出某個記憶，卻愈找愈遠，毫無線索，這個海，只剩下

虛空和黑暗。

驚恐。

但連醫生都說，這是自然老化現象。不用擔心，慢慢就會習慣。

習慣？虛空和黑暗？

我五十三歲，是一個軟件工程師。我成立了一間小型的軟件公司，不到十個員工，一直幫一些大公司

接一些外包工作，生意開始時還可以，很多是來自我唸電腦時的同學，近年來比較大的項目都被印度

那邊搶走了，生意愈做愈小，同事一個個離開，我想，大概要計劃一下結業了。

兩年前，我開始做一個年表，寫下我一生重要的事。開始時，只寫哪年上學，哪年上班，哪年戀愛。

慢慢地，加上哪個月去旅遊，後來又加上照片、成績單、文件、證書。我從來沒有寫日記的習慣，這

也不是日記，這只是一個檔案，一個人生檔案。網上有很多這樣功能的應用程式可以選擇，我隨便挑

了一個，我喜歡它的名字，Before I Forget。

最近，我花很多時間在回憶 1982 年。那一年我十六歲，中五會考，這次考試的成績，影響了日後的

一切。

慢慢地，我把那一年的記憶點滴，放進 Before I Forget。

1982 年初的時候，我們的數學老師參加了第一次區議會選舉，我們一班同學去了幫忙派傳單，最後

一天在街頭喊得聲嘶力竭。

1982 年，是香港命運轉折的一年，九月，北京宣布 1997 年要收回香港主權。1982 年底，去看了許

鞍華的新片《投奔怒海》，看到越南人為甚麼要冒死出逃。

還有一件事，我放進了 Before I Forget 的，就是 1982 年的暑假，在會考之後，我和一班同學出海

玩，發生了一件事。這件事，我一直不能忘記，我一直以為只有我知道。

直至有一天，我收到一條訊息。

那天深夜，當我對著一堆資料，拿著威士忌，開始接受記憶的虛空時，手機出現 Before I Forget 傳

來一條短訊：

「喂，是不是要去釣魚了？」

而署名，是林曉。

第三節 林曉 1 和林曉 2 對話

「那你還記得我的會考成績嗎？」

「你會考的成績，普普通通吧。」

「都及格嗎？」

「及格。」

「那後來呢？」

「甚麼後來？」

「我的人生會怎樣？」

「很不錯啊。很不錯。」

「嗯，怎樣不錯？」

「唸電腦畢業，上班，談戀愛，很早結婚。三十歲開一間小公司，經營了二十年。買了一間房子，房

貸剛還完了。不錯啊。」

「噢，電腦？就是這樣？」

「那你想怎樣？」

「仍有上教堂嗎？」

「沒去很久了。」

「也沒有祈禱？」

「沒有了。」

「為甚麼？」

「因為，嗯，因為太忙了。沒有時間。」

「仍有看書嗎？仍然想做作家嗎？」

「也沒有了。我嘗試過，寫過一些，但我沒才華。」

「你沒才華？我沒才華。」

「你以後會明白。」

「那你，我，有試過向天文學方面發展嗎？大學唸甚麼？」

「沒有了，很早之前就放棄了。你的數學不好，沒可能唸天文學。」

「那唸了甚麼？」

「電腦工程啊！很不錯。但不是大學學位，考不上。只是高級文憑，也很不錯了。」

「為甚麼不出國唸？」

「錢不夠啊，沒出國。在這裡唸也不錯。」

「嗯。」

「事情不是這樣簡單，你以後會知道。」

「女朋友呢？我幾時開始戀愛？」

「很擔心嗎？」

「有一點點。」

「唸電腦的同學，畢業三年後就結婚了。」

「樣子怎樣？」

「不錯，你以後會知道。」

「有孩子？」

「沒有。醫生也找不到原因。沒有生小孩。」

「是我的原因？」

「我沒問題，你沒問題。」

「開心嗎？結婚。」

「開始時，很不錯。兩個人，間中去旅行。後來大家工作都很忙。各有各忙，就分開了。」

「離婚了？」

「很多事情發生了，你以後會明白。」

「你愛過她嗎？」

「（沉默）有的。」

「你人生很失敗嘛。」

「其實不算。」

「甚麼不算，這樣的人生，你滿意嗎？」

「很不錯了。」

「你講了一整天不錯不錯，我問你滿意嗎？你快樂嗎？你把我的一生快要活完了，你滿意嗎？」

「你不明白，你不是我。」

「是你告訴我的，你！是！我！我不明白的是：你憑甚麼一早打電話來，摧毀我一生？」

「我不知道，會搞成這樣，直到我打電話給你之前，我一直覺得，我的一生很不錯。不完美，但也開

心接受了。」

「你不是我。」

「對不起，可能，我不應該打電話來。其實，只想跟你談談。聽聽你的聲音。我自私。」

「聽起來怎樣？」

「我忘記了我原來是怎樣的一個人。」

「的確很自私，的確。我還以為，你要告訴我一些人生的智慧。」

「甚麼？」

「我問你，對我的人生有甚麼建議。」

「例如六合彩中獎號碼？」

「不是那種。」

「我想，跟你講出海釣魚那件事。」

「出海？」

「這件事還未發生，你只要記住，別讓魚逃跑了。」

「甚麼意思？」

「魚上釣了，無論多困難，都別放棄，一定要把牠拉上來。」

第四節 魚的故事

我從未忘記那條魚。

幾十年來，我都後悔，沒有把牠拉上來。那天的細節、感覺，歷歷在目。我有時甚至幻想，如果那天

我沒放手，我的人生會不一樣。

那年暑假，我和同學出了一次海。十幾個人，租了一隻小遊艇。停泊在一個無人島的小港灣。有人游

水，有人扒艇，我和好朋友學峰在船邊玩釣魚。那是我人生第一次釣魚，很容易。每人拿一排魚絲，

穿個小鈎，勾一小塊沙蟲做餌，穿一粒鉛讓它下沉。就這樣釣。

藍天白雲，我們在船的陰影那邊，無無聊聊的釣魚，坐了半天，一條魚都沒上釣，餌都在水裡被魚啄

走，我們都沒所謂，有一句沒一句的聊天。那算甚麼釣魚？其實是餵魚。沙蟲都快用光時。學鋒走開

了，只剩下我。

突然，魚絲繃直了。

我收線，牠和我鬥力，力氣不小，魚絲陷入我手指肉裡，痛。我加大力度，但只收回一點，牠仍和我

鬥。

好，我們就鬥一回。我突然放絲，牠直線離我而去，大概放了四五呎，我定住不放，牠轉向右邊，轉

一個大彎，想試一個能脫身的角度，我握緊魚絲，不放也不收，牠便只能轉回來。

牠一接近，我便乘勢收線，從深處用力扯牠上來。收了三四呎，就在最接近我的一點，給牠奮力轉開

去，用很大的力量和我鬥，魚絲停在一個點，我們又在拔河。

我十六歲，一生人第一次釣魚，我無法想像在水裡跟我搏鬥的是甚麼魚，有多大條，才有這樣的氣

力。你是誰？

魚絲深深陷入左手的肌膚，貼入指骨，它像鋼琴的一條鋼弦，大幅度顫抖，以一個高音直插入水，像

要斷開。我也好像看見那小魚鈎，慢慢被這樣大的力量拉直。

這樣鬥了一分鐘，我怕魚絲和魚鈎頂不住了，便放絲，又回到原點，繞一個圈。

如是，我們。「我們」是指我和魚，角力了四五回，鬥力，放絲，轉圈，收絲，鬥力。我不知牠是甚

麼怪物，何來這生存意志，但是牠總會累的。牠累了，我便贏。

但結果是我輸了。

我不懂得怎樣收魚絲，在牠第四次跟我鬥力時，魚絲索住了我的右手食指，愈索愈緊，割進肉裡，手

指完全變了白色。我想最後一搏，用盡力扯牠上來，但實在太痛了，魚絲收不回來也放不出去。我唯

有拿起小剪刀。

牠一瞬間便消失了，我連看都來不及。定過神來，水面一片平靜，像甚麼都沒有發生過。

黃昏，同學們陸續回到船上，準備回家。我坐在船邊，心仍在跳，仍有點興奮，更多是失敗的感覺。

如果我把魚釣上來了，人人現正都會羨慕我，覺得我是個厲害的人。但現在，我連這個「差點成

功」，但錯失了的機會，也都不知道怎麼講出來。我就這樣回航了。

從此一生，我再沒有釣魚。我知道，這是 1982 年一件很小很小的事。但以後幾十年，每次坐船出

海，我都像見到那條魚。牠究竟有多大？牠是甚麼魚？我有時幻想，牠仍在海裡游弋，仍帶著那小魚

鈎，跟著我。牠是我的陰影。

這是魚的故事。

第五節 我是林曉 3

我，是八十三歲的林曉，我已經快要完全失憶。記憶像炎夏的微風，有時有，有時無。

我的認知能力已經嚴重退化，像個六個月的嬰孩。現在是我，藉著 Before I Forget 跟你溝通。

我，三十年來都用 Before I Forget。把我一生的歷史，我的想法，都放進去。

現在我的記憶，和思維能力都快喪失了。我只能靠 Before I Forget ，用它的資料，和人工智慧，來

幫助我，跟你溝通。

我，有時是林曉，有時，我不知道我是誰。

一片空白。

理論上，在林曉的肉體死了之後，我仍可以林曉的身分和記憶，在虛擬世界存在下去。很多人都這樣

做了，雖死猶生。但模擬畢竟是模擬，模擬不是「活」。

那個林曉，只有回顧的能力，沒有想像將來的能力，但那已經不錯，是不是？活到了這年紀，我也不

太有想像未來的興趣了。

我對你有興趣，三十年前的我。多麼年輕，有活力，有經歷，仍然可以改變。

你可能會對將來很好奇。2019 年，你這個時候，有很多困擾。

城市是不是要毀掉了？

地球是不是沒希望了？

往後的路怎麼了。

這些答案，我都知道了。你不久也會知道，一定。

很有趣，很多記憶都沒有了，但我仍記得 1982 年那條魚。這麼多年來，我仍間中想起牠。

喂，是不是要去，把魚釣上來？