The Ling Drawing of Dunhuang

When Professor Jao was in France, he had a chance to read the Dunhuang manuscripts taken to France by Paul Publications Pelliot (1878 - 1945), who was a sinologist, linguist, NEWSLETTER and explorer. And then he discovered the sketches on Besides exhibitions, the JPE also promotes Chinese art the backside of the manuscripts and scrolls, hence he through publications, and most of them are bilingual: ISSUE #5 commenced to study this particular type of painting. Chinese and English. Generally, catalogues will be published before each exhibition. JULY 2014 Afterwards, Professor Jao referred to the same type www.chineseartsociety.net of works housed in the British Museum, and finished In addition to the exhibition catalogues, the JPE also The Line Drawing of Dunhuang in Chinese. It was also produces other types of catalogues, such as Collected [email protected] translated into French and published by École française Art Works of Jao Tsung-I (12 volumes) published in d’Extrême-Orient in 1978. Because this version is 2006; The Line Drawing of Dunhuang (Chinese, English, { PATRON } rarely seen today, the JPE re-published this important Japanese) published in 2010; Professor Jao Tsung-i’s Prof. Jao Tsung-i academic work in Chinese, English and Japanese. The Collected Artworks (9 volumes) published in 2011; University of Hong Kong Chinese version was printed based on Professor Jao’s Collected Calligraphic Works of Professor Jao Tsung-I manuscript, and the English version was translated published in 2012. In addition, the JPE also publishes { HON. ADVISORS } according to the French edition. catalogues for other important artists, such as Collected Sir Guy Green Calligraphic Works of Van I-Pong (2011) and Paintings Tasmanian Museum and Art Gallery III. The third type of exhibition is held in cooperation and Calligraphy by Professor Wong Shiu Hon (2012). Prof. C.T. Lo with private collectors. University of Hawaii Participation in Artistic Events Prof. Chan Yiu-nam On the path of promoting Professor Jao’s academic and University of Hong Kong artistic achievements, the JPE also actively participates Dr. Thomas Tang Chinese Version in important art activities. University of Hong Kong Through Professor Jao’s art creation in various themes, Yam Kim Fai Research Project Dr. Andy Fung Shui-lung BNU-HKBU United International people are able to learn and know more about Chinese Yam Kim Fai 任劍輝 (1913-1989), a famous College, Zhuhai, China art and culture. Cantonese Opera performing artist. She was able to Mr. Bill Bleathman successfully render male roles, and was one of the Tasmanian Museum and Art Gallery II. The second type of the exhibition is held in most influential cross-casted Wenwu sheng 文武生( , collaboration with contemporary artists. civilized/martial man). Mr. Richard Mulvaney Queen Victoria Museum & Art Gallery This exhibition took place at the International Finance This project is organized by Professor Wong Shiu Hon { PRESIDENT } Centre (IFC) in Hong Kong with 100 exhibits on display. and it was initiated in 2010, aiming to promote the Prof. Wong Shiu Hon Because of the topic and the location, the exhibition art of Yam Kim Fai and encourage young scholars to attracted a large audience. undertake research in Cantonese Opera and further pass { VICE-PRESIDENT } the art form down to younger generations. 1911 Revolution was a significant movement that Mr. David Coleman overturned the Qing dynasty and brought China out 2010 Hong Kong Arts Development Lecture Series { HON. SECRETARY } of imperialism. As 2011 was the 100th anniversary of Four lectures presented by Dr. Thomas Tang Wai Hung Ms. Julie Walters the revolution, the Curator of JPE , Dr. Thomas Tang Wai took place every three months in 2010. Admission to Hung and several private collectors initiated the idea of these talks was free. The purpose of which was to explore { HON. TREASURER } an exhibition displaying the paintings and calligraphy Hong Kong art development in the form of lecture and Ms. Robyn Devlin This exhibition was held at the JPE from 08.05.2012 done by those who were involved in the revolution. The discussion. The topics includes “The Development of to 08.06.2012, and at the Guangdong Art Institute, number of artworks on display was also 100. Because Hong Kong Contemporary Painting”, “The Development { SOCIAL CONVENOR } Guangzhou, Guangdong province, China from 24.8.2012 most of the revolutionists were intellectuals, their works of Hong Kong Water and Ink Painting”, “The Introduction Ms. Rebecca Cong to 28.8.2012. are therefore important to the development of today’s of the Painters who Imitate Dunhuang Mural Painting”, art and academic fields; for example, and “The Development of Hong Kong Seal Carving Art”. { NORTHERN REPRESENTATIVE } For the exhibition in Hong Kong, around 20 paintings Mr. Leo Cui and calligraphy were displayed, and Professor Wong’s Through exhibitions, publications, and the involvement important academic publications in Chinese painting, { HONG KONG REPRESENTATIVE } in art activities, the JPE not only presents the academic Ms. Christine To traditional Cantonese opera, Daoism and Ci poetry were and art achievements of Professor Jao, it also devotes also shown to viewers. itself to the promotion of Chinese art. This article is { COMMITTEE MEMBERS } Regarding the exhibition launched in Guangzhou, 38 simply an introduction of what the JPE is doing, but I Dr. Tony Brown paintings and calligraphy were on display. hope that readers are able to get at least some general Ms. Jan Everett Zhang Taiyan 章太炎 (1869-1936) was a highly concepts of the JPE through this paper. respected master of Chinese culture, who was an expert Mr. Barry Hine in classical studies, Chinese philosophy, phonology, Ms. Yvonne Hine etymology, literature, and Buddhism, etc. Ms. Virginia Vaughan Mrs. Nancy Wong NEWSLETTER ISSUE #5, JULY 2014, p2 | www.chineseartsociety.net | [email protected] { CONTENTS } 我的繪畫老師(一): 饒宗頤教授 From the President 黃兆漢教授 10 - 11 會長感言 2 Well-Refined Creation, Where East Meets West: An Introduction to Chinese Paintings and Calligraphy by Past & Forthcoming Events Professor Wong Shiu-hon 活動重温及即將舉行的活動 3 - 5 Dr. Shui-lung Andy Fung Chinese Antiquities: Acquisition and Appreciation 中西交會．學藝雙攜——《黃兆漢教授書畫選集》簡介 Prof. Wong Shiu Hon 馮瑞龍博士 12 - 13 中國古董的購藏與鑒賞 Jao Tsung-I Petite Ecole and the Promotion of Chinese Art 黃兆漢教授 6 - 9 Christine To My Teachers in Chinese Painting (1): Professor Jao Tsung-i 饒宗頤學術館與推廣中國藝術 Prof. Wong Shiu Hon 杜英華 14 - 16

We would like to express our sorrow for the passing away of the Tasmanian Governor Peter Underwood, a true gentleman and a strong supporter for the Arts. Our hearts go out to his family. 深切悼念塔斯曼尼亞總督彼得．安德五德先生。對於他的親屬，我們懇切慰問。

{ FROM THE PRESIDENT 會長感言 } “Learning consists of 「為學日益，為道日損，損之又損， daily accumulating; 以至於無為，無為而無不為。」 The practice of Dao consists of daily diminishing.” 本期通訊封面引語書法是由國學大師饒宗頤教授撰寫，原 語則出自老子（約生於西元前六世紀，與孔子同時而為孔 Lao Zi Dao De Jing * 子之長輩。孔子曾問禮於老子）著之《道德經》，是中國 (from the translation by Dr. John C.H. Wu, Tao Teh Ching) 哲學史上的名言雋語。意思是說：「為學，知欲就一天天 The above quotation which appears in the Cover page of 的增加；為道，知欲就一天天的減少。減少又減少，把知 this issue of the CAS Newsletter is a classic expression from 欲損盡了，以致最後不需要繼續去減少，而達到無為的境 the history of Chinese philosophy. This quotation came 地。這樣，無為便變成無不為了。」 from Dao De Jing which was regarded as one of the most profound works that has issued from the mind of man. 問題是，從「有」到「無」，實際上雖然並不容易，但也 Scholars generally hold that Dao De Jing was written by an 不難理解，只要不斷的去「減少」便行了。但，為甚麼「 elder contemporary of Confucius, Lao Zi. 無為」會變成「無不為」呢？這是很關鍵性的問題。其 實，在老子的哲學裡，「無為」就是「道」的本性！老子 Further to the above quotation, the passage in Dao De Jing reads: 在《道德經》的另一處說：「道常無為而無不為。」這便 Keep on diminishing and diminishing, 是一個明證。 Until you reach the state of No-Ado. 既然「無為」是「道」的本性，即「道」之所以為「道」 No-Ado, and yet nothing is left undone.” 之性，所以我們可以說，一旦「人」達到了「無為」的境 In simple words, the quotation brings out the essence of 地，他便得「道」了，他能夠與「道」合而為一，或說「 attaining the Way in Daoism. When we are learning, the 道人合一」，或「天人合一」了。到了這個境界，「人」 desire for knowledge will accumulate and increase every 就是「道」，就是「天」了！我們說「道」也好，「天」 day. In order to attain the Way, we have to diminish the 也好，說到底，其實就是「自然」。所以「無為而無不 desire for knowledge every day, keep on reducing it until 為」，就是說人要順從自然，這樣，萬物便各得其所，各 we have relinquished all desire for knowledge. Then we 遂其生，故此，可以說是無所不為了。 need not keep on diminishing and have in fact arrived at the state of Non-action. When we have reached this state, Non-action will then become: nothing is left undone.

The process from “accumulating” to “nothingness” though not a easy way yet it is not difficult to comprehend, as continuous diminishing will then reach a state of “nothingness”. But to go from “Non-action” to “Nothing left undone” is indeed a crucial point. In fact, in such a work as the Dao De Jing which is one of the great imaginative insights into life and nature, “Non-action” is the core of the thought of Daoism.

Daoism places a man in his proper relation to nature. In Dao De Jing Lao Zi cautioned people against excessive interference. The urge to change what by nature is already good only increases human unhappiness. “All things come back to their roots”, we were told by Lao Zi in the morning of the human race. * The Dao De Jing consists of 81 chapters divided into two parts: the Upper Part and the Lower Part. The Upper part, chapters 1 to 37, begins with The calligraphy of the quotation on the Cover was written the word “dao” 道 and is known as the dao jing (Classic of Dao).The by renowned scholar Professor Jao Tsung-i. Lower part, chapters 38 to 81, begins with words “shang de” and is known as the de jing (Classic of Virtue). The two parts constitute the complete work, the Dao De Jing. NEWSLETTER ISSUE #5, JULY 2014, p3 | www.chineseartsociety.net | [email protected]

{ CAS ACTIVITIES IN APRIL TO JUNE 2014 2014年4月至6月中國藝術協會活動重溫 } CAS Dinner Talk on 24 May, Saturday Bill Bleathman, former Director of the Tasmanian Museum and Art Gallery, gave a talk on “A Director’s Chinese Journey: Home and Abroad”. Bill guided members and guests through an illustrated journey of museums and art galleries in Hong Kong, the Imperial Place Museum in Beijing and the opening of the Dunhuang Caves Exhibition. The audience was enthralled by the interesting and humorous talk. Over 70 guests packed the venue, and attendees included the Hon. Dr. Vanessa Goodwin (Minister for the Arts), Sir Guy Green (Chairman of the Trustees of TMAG), and Lady Green, City Councillor Alderman Marti Zucco, Mr. John Sexton (President of Friends of TMAG), Tasmanian artists Max Angus, Chen Ping and many other distinguished guests. 五月晚餐講座

澳洲中國藝術協會五月晚餐講座在5月24日星期六完滿舉行，反應熱烈， 整個宴會廳坐滿來賓，場面熱鬧。原塔省博物及藝術館館長Bill Bleathman 講述他的中國文化旅程，別開新面，風趣幽默，贏得滿座掌聲。當晚出席 嘉賓有the Hon. Dr. Vanessa Goodwin (藝術部長)、Sir Guy Green (TMAG 理事會主席) 及夫人、市政局議員Alderman Marti Zucco、塔省博物及藝 術館之友會長John Sexton、塔省著名畫家Max Angus、陳平及其他藝術 界知名人士等。

CAS APRIL PUBLIC TALK “Chinese Antiquities: Acquisition and Appreciation” by Professor Wong Shiu Hon 12 April 2014, Saturday, the CLD, Tasmanian Museum and Art Gallery Professor Wong shared with the attendees his researches and experiences in the collection and appreciation of Chinese antiquities, with special emphasis on ceramics. The venue was fully packed with enthusiasts in Chinese antiques who brought along their collected pieces for Professor Wong to view. Among the audience was an Asian specialist from a well-known auctioneer in Sydney who came all the way to Hobart to attend this talk by Professor Wong.

4月12日澳洲中國藝術協會主辦公開演講 由黃兆漢教授主講的“中國古董的購藏與鑒賞”於塔省博物及藝術館舉 行。當日出席者甚眾，座無虛設。演講中黃教授向聽眾指出購藏古董需注 意的事項，以及與大家分享他鑒賞古董的經驗與心得。演講後黃教授更為 出席者帶來的藏品提供他的專業看法。值得一提的是，聽眾中包括由悉尼 專程來聽演講的著名拍賣行的亞洲部專家。

NEWSLETTER ISSUE #5, JULY 2014, p4 | www.chineseartsociety.net | [email protected]

Chinese Painting for the New Chinese Embassy 中國新大使館新藏「荷塘翠鳥圖」

Professor Wong Shiu Hon has been invited by the Chinese Ambassador to do a painting for the newly completed Chinese Embassy complex in Canberra. Images below showing Professor Wong presenting his new artwork “Lotus and Kingfisher” to the Chinese Ambassador, Dr. Ma Zhaoxu during their meeting in early June. In return, the Ambassador also presented to Professor Wong a limited edition of a fine printed copy (on silk) of the famous painting by Huang Gongwang of the 14th century which was entitled “Dwelling in the Fuchun Mountains”. Photos of the new and old Embassy buildings are also included here.

黃兆漢教授獲中國駐澳洲馬朝旭大使邀請為新大 使館作畫。黃教授於六月初專程到堪培拉將新畫 作「荷塘翠鳥圖」親自送到馬大使的手上。投桃 報李，馬大使以元代著名畫家黃公望的「富春山 居圖」(絲絹限量印本) 一卷相贈。 NEWSLETTER ISSUE #5, JULY 2014, p5 | www.chineseartsociety.net | [email protected]

{ FORTHCOMING FUNCTIONS 即將舉行的活動 }

July Public Talk September Dinner Talk 黃兆漢教授將簡介粵劇的歷史與藝術。黃嘉寶 女士同場示範表演粵劇的唱、做、服飾與化裝 7月公開演講 9月晚餐講座 等。歡迎觀眾在講座後與黃女士傾談及拍照留 Topic: How to Create and Appreciate Zen Painting Topic: Gateway to All Wonders: the Tasmanian 念。 講題: 禪畫的創作與欣賞 Museum and Art Gallery Costumes, photos, and posters relating to Yueju Speaker: Prof. Wong Shiu Hon 講題: 眾妙之門 : 塔省博物及藝術館 (Cantonese Opera) will be displayed. 講者: 黃兆漢教授 Speaker: Sir Guy Green 同場展出有關粵劇的服飾、照片、海報等。 Date: 26 July 2014 (Saturday) Chairman, Trustees of the Tasmanian Museum 日期: 2014年7月26日(星期六) and Art Gallery 講者: Sir Guy Green Time: 2:30 - 4:00pm 塔省博物及藝術館理事會主席 時間: 下午2時30分至4時 Venue: Royal Society Room, Tasmanian Museum and Art Gallery 地點: 塔省博物及藝術館

Date: 26 October 2014 (Sunday) Date: 5 September 2014 (Friday) 日期: 2014年10月26日(星期日) 日期: 2014年9月5日(星期五) Time: 2:00 - 4:00pm Time: Talk starts at 6:00 pm, followed by Dinner. 時間: 下午2時至4時 時間: 講座下午6時開始，晚餐隨後。 Venue: Town Hall, Hobart City Council Venue: Written on Tea (16 Elizabeth Street, Hobart) (135 Bathurst Street, Hobart) 地點: 霍巴特市政廳禮堂 地點: 茶の物語 (16 Elizabeth Street, Hobart) (135 Bathurst Street, Hobart) Organiser Dinner cost at $30 per person. Chinese Art Society, Australia Superb menu, available on request. Co-organiser ALL ARE WELCOME! Australia China Friendship Society, Tasmanian Branch 晚餐費用每位30元。 Supporters August Public Talk 精心設計菜式，歡迎查詢。 Yam Kim Fai Research Project, Hong Kong 歡迎各界人士參加 ! 8月公開演講 Research Institute of Chinese Studies, United International College, Zhuhai, China Topic: Well-Refined Creation, Where East Meets Yueju (Cantonese Opera) 主辦 West: A Review of the Achievements of a for Tasmanians 澳洲中國藝術協會 Distinguished Scholar-Artist in Chinese Art Public Talk, Demonstration and Displays 講題: 中西交會．學藝雙攜 協辦 澳中友好協會塔省分會 Speaker: Dr. Andy Fung 粵劇鑼鼓振塔省 Associate Professor and Deputy Director, 公開講座，示範表演及展覽 支持 Research Institute of Chinese Studies, 香港任劍輝研究計劃 Beijing Normal University—Hong Kong The event will be officially opened by Sir Guy Green. 中國珠海北京師範大學--香港浸會大學 Baptist University United International Sir Guy Green 將主持開幕儀式。 聯合國際學院中國文化研究所 College, Zhuhai, China Topic of Talk: The Art of Yueju (Cantonese 主講: 馮瑞龍博士 Opera): Introduction and FREE ADMISSION. ALL ARE WELCOME! 中國珠海北京師範大學--香港浸會大學 Light refreshments provided. 聯合國際學院副教授兼中國文化研究所 Demonstration 副所長 講題: 粵劇的藝術 : 簡介與示範 免費入座。歡迎各界人士參加 ! Speaker: Prof. Wong Shiu Hon 敬備茶點招待。 講者: 黃兆漢教授 Demonstrator: Ms Wong Ka Bo Famous Yueju (Cantonese Opera) Artist from Sydney 示範: 黃嘉寶女士 Enquiries/Bookings 悉尼著名粵劇表演藝術家 Date: 23 August 2014 (Saturday) 查詢/預訂 日期: 2014年8月23日 (星期六) Professor Wong Shiu Hon will give a general introduction Nancy Wong Time: 2:30 - 4:00pm on Yueju (Cantonese Opera), while Ms Wong Ka Bo will 0418914007 時間: 下午2時30分至4時 be demonstrating such aspects as singing, acting, [email protected] Venue: Centre for Learning and Discovery, costume, and make up of this beautiful traditional art Tasmanian Museum and Art Gallery form. Attendees are welcome to chat and take photos 地點: 塔省博物及藝術館 with the opera artist after the Talk. NEWSLETTER ISSUE #5, JULY 2014, p6 | www.chineseartsociety.net | [email protected]

Chinese Antiquities: Acquisition and Appreciation d Prof. Wong Shiu Hon * 中國古董的購藏與鑒賞 h 黃兆漢教授 #

Chinese antiquities can roughly be divided b) Preparation before collecting There is a small blue-and-white jar in the Museum of into 14 categories, namely, pottery, porcelain, jade, the University of Hong Kong and it was produced in the bronze, painting, calligraphy, gold & silver, lacquer, Since antiques have these values or are so Tang dynasty. Some scholars have not done adequate enamel, bamboo & wood, embroidery, fresco, stone- valuable, it is absolutely desirable for people to collect research before they conclude their findings. That is why carving and stone-tablet-carving. For this talk, I would them. But before collecting the antiques, people they often make serious mistakes! like to concentrate on pottery and porcelain, i.e. ceramics, should be well equipped. How? They should have simply because most of us like ceramics, especially some background knowledge first. How to get the porcelain-china. May be, in future I would give a talk background knowledge? on the acquisition and appreciation of Chinese painting First of all, let me suggest that they should and calligraphy. I believe that it is a more difficult topic have some knowledge of the general history of China. Then they should try to acquire some basic knowledge for many people, but it is easier for me, because I have been engaging in these two forms of art for more than of the history, particularly the development of Chinese 60 years. ceramics. To achieve these, it is not too difficult. Just try to read one or two good books on these two At this point, I would like to draw your attention to the fact that “blue-and-white” porcelain PART I ACQUISITION fields. Then, try to get some knowledge of collecting Chinese ceramics. is completely different from “blue-white” porcelain. The latter refers to a kind of porcelain whose coating is a) Values of antiques After that, try to be familiar with some important types of wares from different kilns, from between blue and white, blue where the glaze is thick Why do people want to acquire or collect different places in the long history of China. For and white where it is thin. In Chinese it is “青白釉”, ceramics? I think for most people, the reason is: “I love instance, yue yao 越窯 wares, xing yao 邢窯 wares, literally, meaning “blue-white glaze”. them!” For other people, at least one of the reasons is: guan yao 官窯 wares, ru yao 汝窯 wares, jun yao 鈞 “They are good for investments!” Why “love them”? We 窯 wares﹐and so on. feel pleased and comfortable with them. It is a piece of “Yao” means “kiln”. We should try art! It has got artistic value, I believe that the artistic to remember how they look like, what are their value of the object is one of the important values that characteristics and also attempt to compare them. By attract people to love it. comparing them, it would be easier for us to notice or There are, of course, other values in to find out their different characteristics. Comparative the object, namely, historical and scientific or study is important. technological values. At the same time, people should have correct As a piece of antique, undoubtedly it has got knowledge of some “special terms” in Chinese ceramics, historical value, which is actually the most important e.g. celadon, contending colours or contrasting colours, It is absolutely true that these two terms are values of all. But it does not mean that the older the blue-and-white, blue-white, famille-rose, san-cai, quite confusing, so in the Qing dynasty (1644-1911), object is, the greater monetary value it possesses. There etc. Here I will try to explain a couple of these special the latter was given the poetical name “ying qing 影 are other factors which affect the monetary value of an terms. What is “contending colours” or “contrasting 青”, literally “shadowy blue”, because it is slightly blue object. Its artistic value is one of them. Certainly there colours”? In Chinese it is “dou-cai” 鬥彩. It is a style of in colour. “Shadowy blue” porcelain was a well-known are others. decoration in enamel colours first adopted in the 15th and important type of porcelain in the Song dynasty Some people, especially those scientists, century. The motifs are outlined in soft underglaze blue, (960-1279), especially in the Northern Song dynasty often place strong emphasis on the scientific or and the painting is completed over glaze by adding (960-1127). technological value of the object, because by examining soft-red, yellow, apple-green and other enamels. The What is “san-cai”? Literally it means “three the object they can find out how the object was made contrast is between the underglaze blue and the over colours” or “tri colours”. It was a new type of pottery and can also trace the development of the manufacturing glaze colours. produced in the Tang dynasty (618-907). Though the process of the category, to which the object belongs. main colours were white, green and ochre, “tri-colour” I think that collectors should be respected does not necessarily only refer to these three colours, because they have spent a great deal of time, energy colours other than the aforesaid three colours were also and money to collect those objects. They treasure and included. So “tri-colour “is in fact “multi-colour”. Because preserve those objects for the community and for the of that, if there is a “san-cai” horse of the Tang dynasty in posterity. Those objects are cultural or historical relics front of you , don’t try to count the number of colours of and they are absolutely necessary and important for the horse. Very often, there are more than three colours. educational purposes. Don’t be misled to think that since the horse has only It is true that some people collect antiques got one or two colours or more than three colours, then simply for investment, for the purpose of selling them to it is not a “san-cai” horse! Sometimes, the so called “san- make money. But still they should be respected, because What is blue-and-white porcelain? It is cai” horse has got only one colour. Since the horse is in in one way or the other they help to keep and preserve white porcelain decorated with cobalt blue underglaze. colour, it is then called “san-cai”horse. “San-cai” is only those objects. So on the one hand these collectors are In Chinese it is called “青花“, meaning “blue flower”. a very general term! All “san-cai” objects were fired at able to make money, but on the other hand this is also Many scholars believe that it was first made in the rather low temperature, about 900 degrees Celsius. good for other people, who can obtain more knowledge Yuan dynasty (1279-1368), but in fact blue-and-white So “san-cai” objects are only considered as pottery, by studying those objects. People can be more educated porcelain already existed in the Tang dynasty (618- not porcelain, which is usually fired at 1280-1300 by studying those antiques. 907), a few hundred years before the Yuan dynasty. degrees Celsius. NEWSLETTER ISSUE #5, JULY 2014, p7 | www.chineseartsociety.net | [email protected]

high quality, but if they are genuine antiques, then we should be more than happy and satisfied. In the 1980s when I was teaching at the University of Hong Kong, every weekend my wife and I used to go to the antique markets to try our luck. After 20 years we have picked up quite a number of genuine antiques. Though they were not of very good quality, they were not expensive! However, we bought most of our items from antique Some knowledge cannot be obtained just shops, sometimes not too expensive. At least we could by reading books or visiting museums. In addition, afford them. we have to rely on the expertise of other people. So, Another way to collect antiques is to have a it is important to ask for advice from experienced swap with our friends or other collectors. By doing that There was a well-known antique collector collectors or scholars in this field. Their advice are very we could have a very good chance of getting what we in Hong Kong, Dr. K. S. Lo, who had collected several important, especially for those who are just beginners in like or what we need. hundred of tea pots and tea cups of various periods, collecting antiques. starting from the Jin dynasty 晉 (265-316) up to the It is normal and true that beginners d) What should be collected? present period. Eventually the whole lot was donated to sometimes make wrong judgement and waste a bit the Hong Kong government, and the whole collection of money, but listening to the advice of experts will Before actually start collecting antiques, is being permanently displayed in a specifically certainly help them to make fewer mistakes and waste there is a more important question, which is: “Do I have designed museum. I believe that it is a proper way to less money. any plan for collecting?” or “what should I collect?” treat a donated collection, which should be very much Before actual collecting, one should work Is it just simply that” I collect what I like or treasured and appreciated. out how much money one can spend on collecting. That love?”, Or, “Do I have any specific plan?” I know a gentleman in Hong Kong, Mr T. C. Yeung, who had collected over one thousand snuff is a very important and essential factor. You should also Here are some of my suggestions: decide whether you aim at quantity or quality of your bottles. An exhibition of these beautiful pieces was held collection. That means, you should consider buying a 1. One can collect any item in the history in the Museum of the University of Hong Kong in 1995. number of less expensive items or focus on one or two of Chinese ceramics, starting from the New Stone Age They were really stunning pieces! expensive items that are of good quality. It is not easy to or the Neolithic period up to the present age. That decide, because collectors, especially beginners, tend to was what we did. But I think at that time we were too collect as many items as possible. ambitious. We started collecting antiques in the 1970s and came to a full stop in 1998 when I took up my early c) Where to look for antique items? retirement. We have spent almost 30 years in collecting Chinese antiques, not including Chinese paintings, When we are ready to start collecting, we calligraphy and furniture. We did not only concentrate should first decide where to go? The most ideal place on ceramics, we also collected wood-carving, stone- is of course public auctions. There are a large number carving, bronze vessels, iron objects, snuff bottles, etc. of auctioneers in the world. Sotheby’s and Christie’s We have collected about 400 items and have spent Collecting items of a special kiln (yao) is are probably the most well- known –internationally a large amount of money on them! But we were very 4. not a bad idea. There are many important, outstanding well known and most reliable. So, if one is really keen happy because we had got what we liked and have built and well known kilns in the history of Chinese ceramics, on collecting antiques, it would be a good idea to go to up a fairly good collection. e.g. Guan 官窯, Ru 汝窯, Jun 鈞窯, Ding定窯 or auctions organized by these two companies. But one 2. One can collect antiques of a certain Ge 哥窯, --“the five great kilns” of the Song dynasty. should bear in mind that there are forgeries everywhere! period. Each dynasty is particularly well known for Even the most well-known companies will sometimes some kind of ceramics, for example, coloured pottery sell forgeries. It may be due to the fact that they have of Neolithic period(c.7000-1600 BC), lead green glazed not done enough research or have not got adequate pottery of the Han dynasty(206 B.C.-220 AD), san-cai(tri information on some of the items in the auctions. colour) pottery of the Tang dynasty(618-907), shadowy- Some forgeries are so well made that they blue porcelain of the Song dynasty(960-1279), blue- really look like genuine objects. They are what we call and-white porcelain of the Ming dynasty(1368-1644), “high class copies” 高仿品. Only those real antique famille-rose and enamelled porcelain of the Qing experts can find out that they are forgeries. Our dynasty (1644-1911). knowledge is very limited, all of us sometimes make mistakes in our judgement. Very often, even scientific tests cannot give much or sufficient help. I will deal with scientific tests in the latter sections of this talk. The next place to go to for collecting antiques is antique shops. Here one has to depend on one’s own experience and expertise. That means that even if an antique shop claims that a certain item is of Apart from these, there are others of the a certain period, we should not just take their words same dynasty which had passed to us many beautiful for granted, we have to find out ourselves. We have to and precious items. To name a few more: cizhou kiln 磁 These particular types of ceramics should be look at or examine the item carefully, trying to find out 州窯, yaozhou kiln 耀州窯, longquan kiln 龍泉 looked for and included in one’s collection. Undoubtedly, whether it is a genuine piece or not, how good it is, and 窯, jizhou kiln 吉州窯. whether it has been damaged or repaired. The key point there are other types of secondary importance. Very is: to rely on ourselves is the best policy. If we are not often, antique collecting depends very much on sure, then don’t buy it. Don’t take the risk. personal taste. Sometimes we can go to antique markets to 3. One should consider collecting a special try our luck. There is a possibility that occasionally we type of ceramics, e.g. tea cups, tea pots, plates, bowls, will pick up one or two items we like. They may not be of vases, pillows, pitchers, ewers, figurines, snuff bottles, jars, urns,etc. NEWSLETTER ISSUE #5, JULY 2014, p8 | www.chineseartsociety.net | [email protected]

In antique appreciation, there are three Yuan dynasty (1279-1368). It was sold in an auction important and essential principles. They are: organized by Christie’s in July 2005. It was sold for 1. Genuineness 真 RMB 228,340,000 yuan. That is more than 45 million 2. Rareness 精 Australian dollars. 3. Good condition 新 Of the three, the most important should be the first

one, i.e. “genuineness”. That means, if the item is They were all important kilns of the claimed to be an antique of the Han dynasty, it should Song dynasty. have been made or manufactured in that period and not earlier or later. But Han dynasty last for 400 years, it is very difficult for us to find out when the item was actually made. Therefore, as long as it was made within The above is an enamel-colour porcelain these 400 years, it is genuine, it was a product of the vase of the Qianlong period of the Qing dynasty (1644- Han dynasty. 1911). It was sold in an art auction a few years ago at Suppose there is a porcelain ware right the price of HK$115,400,000. That is approximately 15 in front of you and it is claimed to be a product of the million Australian dollars. Jingdezhen 景德鎮 kiln of the Ming Qianlong 乾隆period (1735-1795) period of the Qing (1368-1644) and Qing (1644-1911) is equally important dynasty (1644-1911), but in fact it was made in Guangxu and well known. Porcelain items produced by the kilns 光緒 period (1875-1908), which was 100 years later. mentioned above are absolutely worthy to be collected. Then is this ware “genuine”? Of course not! Though the There is one more kiln I would like to mention, two periods are of the same dynasty. You may ask me i.e. Shiwan 石灣 kiln of Guangdong Province. why I bring out this case? The point is that products of This small chicken cup of the Cheng Hua 成 the Guangxu period are very often as valuable as those 化 period (1464-1487) of the Ming Dynasty was sold for of the Qianlong period. They are both of extremely good A$38.5million. quality. In fact, porcelain items of the Guangxu period Why are they so expensive? Because they are are very often fine copies of those of the Qianlong period genuine, rare and in very good condition. It is believed replicated on purpose. So, if you have bought an item of that the blue-and-white urn is really a “unique” piece— the Guangxu period instead of the Qianlong period by the only one existing now. mistake, don’t get upset, don’t be panic! Psychologically Apart from the aforementioned three Though generally speaking, items produced you may not be happy, but it doesn’t matter, you still principles for valuating antiques, I think there is one by Shiwan kiln are not as fine as those produced by have got a good and valuable item. Sometimes, a good more, and it is “appreciation value”. Some antiques are Jingdezhen kiln, they have their notable characteristics. item of the Guangxu period is more valuable money particularly good for appreciation and others are not. For Their glazes on the bodies are exceptionally unique. wise than an ordinary item of the Qianlong period. The example, a piece of porcelain of the Qing dynasty is good They are so natural, so free and so varied. older the item does not necessarily mean that it is more for appreciation, but a piece of green glazed pottery of 5. From technological point of view, some valuable. It depends on other factors. the Han dynasty is not too good for appreciation. Which people may like to collect a special type of ceramics, However, as far as antiques are concerned, of these has more value? Which of these do you want to e.g. the lead green glazed pottery of the Han dynasty, “genuineness” is the first and most essential principle. buy? You have to make your own choice. san-cai pottery of the Tang dynasty, celadon of various Antiques are valuable, rare antiques are Based on quality, ceramics can be periods, “blue-and-white” porcelain starting from the even more valuable. This is crystal clear and I think no categorized into 4 types. The first type is “important Yuan dynasty (1279-1368), multi-colour porcelain of one would object to that! A ”unique” piece of antique is and rare”, the second type is “rare or representative”, the the Ming dynasty (1368-1644), famille-verte, famille- most valuable. “unique” in strict sense means “the only third type is “standard” and the fourth type is “genuine rose and enamelled porcelain of the Qing dynasty one”, and not “very”, “extreme” or “most”. but not good”. (1644-1911). The third principle is “good condition”. The first type is those pieces which are When we were building up our collection, That means that the item has been well kept, without regarded as ”national treasures”, important in the history my wife Nancy loved to collect beautiful items of the any part of it damaged or repaired. It would be most of Chinese ceramics and were very hard to be replaced. Qing dynasty, while I like to collect the lead green desirable if its condition is as good as it was when the They are, without any doubt, extremely expensive. glazed pottery of the Han dynasty and pottery items item was produced. If the item is genuine and rare, but The second type is those pieces which are of the Tang dynasty, especially san-cai items. But the part of it has been damaged, no matter how minor the rare or typical works of a certain type of ceramics, e.g. good ones were so expensive that very often we could damage is, the value of the item would then be greatly celadon, blue-and-white, “tri colour”; or products of a not afford to buy them. There were a number of cases reduced. The rate of depreciation depends on how much certain kiln, e.g. Jun kiln, Shiwan kiln, Guan kiln, just to that we had to spend a whole month’s salary in order to and how badly the damage has been done. For a very mention a few. They are very valuable and expensive. possess just one item! fine piece of porcelain, even a small crack in the coating Ordinary antique collectors could hardly afford to There are, without doubt, other plans of glaze may affect the value of the item! Some antique buy one. for collecting, but I think that my suggestions are collectors are perfectionists, and they are not pleased to The third type is those standard pieces, workable. buy any antique with even a small crack in the coating of which are genuine, good but not rare. Generally, The most important point is that, how much the glaze. But for museum collections, the situation may antique collectors could only afford to collect or buy money you could spend on one single item? Don’t be too not be that bad. As long as it is genuine, museums are those items. ambitious. Don’t be deep in debt! Many antiques are happy enough to accept the item with minor damages. The fourth type is those pieces which are just lovely, Don’t try to buy them all. Don’t fall in love with At this stage, I would like to show you a genuine, but are not of very good quality. They are not all of them. Otherwise, you will be in great trouble! Also, couple of really rare and expensive porcelain items: up to standard or even damaged to a certain extent. it is more rational to buy one that is of high quality than I firmly believe that “genuineness” is the to buy several items of lesser quality. It is the quality not most important principle in collecting antiques. So, the quantity that counts! when we were building up the Wongs’ Collection, we always kept in mind that all items had to be genuine! PART II APPRECIATION After that, comes “good condition”, then finally comes “rareness”. Not many collectors could afford to buy a) Three important principles This is a blue-and-white urn of the rare items. NEWSLETTER ISSUE #5, JULY 2014, p9 | www.chineseartsociety.net | [email protected] b) How do we know that the item is genuine? at the bottom of the item, it could still be genuine and only thing which is still a problem for these precision was made in that period, for many items made during instruments is the metaphysical aspects of the object, Now, we come to a very important question the Qianlong period had no marks at all! When did especially the manner of the period and the spirit of the in antique collecting, i.e. How do we know that the item ceramics have reign mark? It first appeared in Eastern maker. These aspects are left to the real experts to take is genuine? This is indeed a very significant question! Han dynasty (25-220) and became popular in the Ming care of. These aspects, so far, still cannot be copied by There are a number of factors which can (1368-1644) and Qing dynasties (1644-1911). those precision instruments and cannot be reproduced determine whether an antique is genuine or not. We have to watch out and examine other by advanced modern technology. In a way we are lucky, The first factor is the design of the form of factors carefully. The point is: “don’t rely totally on one because we still have a trump card, i.e. our human eye the item. Suppose there is a porcelain vase claimed to factor”! All factors have to be taken into consideration. and mind. be the product of the Qing dynasty right in front of you, It is not easy at all to feel the manner of and you like it and want to buy it. First of all, you have to c) Scientific dating methods the time when the object was made and to grasp the examine the design of its form. Did that design exist in spirit of the maker reflected in the object. But we have that period? If in that period that design had not existed To get enough knowledge and experiences to train ourselves to be able to do that, otherwise we yet, then that antique would be of a later period. That for an antique collector is difficult. To be a real expert in cannot be a good antique collector, and we should not means it is not genuine! At least you should not rush to collecting antiques is more difficult. Some of you may collect antiques. Antique collecting is basically a kind of buy it. You have to do more research and ask for advice say or suggest, ”why not take the antique object to a education—a very sophisticated education. Apart from from antique experts. university or an institute of science and technology and learning a lot, antique collecting can help us to sharpen Secondly, you have to look at the drawing ask them to do a scientific test?” our eyes and sharpen our mind. (or painting or decoration) of the object carefully. You That is certainly a good idea and a good We should not depend entirely on scientific have to ask: “Is the style of drawing existent in the Qing suggestion. I know that among a number of dating instruments. They are not totally reliable. They dynasty?” “Could the techniques of the painting come methods, two of them are more popular and more sometimes do make mistakes. Let me cite an instance from the hand of a Qing artist?” “Did they have that sort frequently used. One is the “Radiocarbon dating about scientific dating method. In 1990s when I was of drawing and pattern at the time of the Qing period?” method”. The other one is “Thermo luminescence dating teaching at the University of Hong Kong, I used to give Thirdly, you have to pay attention to the method”(TL dating method). By using these methods advice to a number of antique shops in Hong Kong. craftsmanship of the porcelain vase. “Did they have this the approximate dates (or time) of the objects can One day, a customer was very keen in buying a “tri sort of craftsmanship?” “Was the craftsmanship too good be detected or even determined. I am told that the colour” Tang horse from one of the antique shops, but for that period?” “Did they have this type of technology?” second method, i.e. the TL method is more frequently he wanted to undertake a scientific test for the pottery If the craftsmanship is too good or too advanced, there is used nowadays, probably because it is more accurate horse. The owner of the shop then took the horse to the a great possibility that the item is a fake or forgery. If the and reliable. laboratory of a university in Hong Kong to do the test. craftsmanship is too bad, it may not be a fake or forgery. But the problem is that, “are these scientific They drilled 3 holes at the lower part of the horse, near It may be a genuine piece but not a good piece or not in methods absolutely reliable?” The answer is “No!”. the belly and took the powder away for a scientific test. good condition. Radiocarbon dating method may be good enough for a When the report of the test came out, it only said that Then, we come to the fourth factor: certain type of antiques but not good for others, while the test could only guarantee the part around the 3 “materials used”. We have to examine the clay, colours, TL dating method may be good enough for other types holes was of the Tang dynasty. glazes… and so on. “Are these materials commonly used but not good for that particular type. Many experts do The report was very carefully worked out. in the Qing dynasty?” “Had these materials already been not always trust scientific dating methods, because As far as I know over 90% of “tri colour” Tang horses used in that period?” There are a number of questions they believe that they are more intelligent than those excavated from underground were damaged to a certain like these as far as materials used are concerned. We precision instruments or scientific devices. They have got extent and more often than not they had been repaired have to be very careful and have to be very meticulous, a better eye and a better mind, which are cleverer than at a later stage. Some antique shop owners even said because we don’t want to make any mistake. We have to scientific instruments. Very often there are arguments that they had not seen any Tang horse that was not buy real genuine antiques! between the experts and the results of scientific dating damaged. A Tang horse may be a mixture—putting The first and second factors are related to methods over the dating of antique objects. Both parties fragmentary parts from different Tang horses to make the field of “art”, while the third and fourth ones are can hardly come to an agreement! Experts can put one. In fact a Tang horse like that is not bad at all, for at closely related to technology. They are all important in forward a number of theories, discarding or rejecting least all parts were of the Tang dynasty. But some Tang judging whether an antique is genuine or not. the findings of the scientific dating methods. horses were not like that. Some of their parts were made In addition, it has become a habit for Why was there such a controversy? The in later periods, even in modern times. That means they the antique collectors, especially those who collect main reason is that scientific tests could only take care were newly made! porcelain, to look at the mark drawn at the bottom of of the physical aspects of the object, while the experts, The reason why I bring out this case is the item. There are usually 4 or 6 characters showing us in addition, could also take care of the metaphysical because I would like to draw your attention to the fact the period the item was made and they were usually aspects of the object. that scientific dating methods have their restrictions. written in blue, or sometimes in red. What is the “metaphysical aspect” of the They cannot tell you whether the entire object is genuine object? That is the spirit or manner of the time when it or not. They are not comprehensive. Besides, scientific was produced, the style of the artist and the spirit of the dating method cannot be applied to fine porcelain, for artist in the production. Since technology is so advanced example, ceramics of the Ming and Qing dynasties. in these days, extremely good copies of any ceramic object I really admire those antique collectors or could be made. They are what we call “high class copies” experts who could ascertain that an object is genuine or as I have pointed out before. These “high 高仿品 not by just looking, touching at the item for a couple of class copies” are everywhere in the antique markets, But we must not rely too much on the mark, minutes, or listening to the sound produced by hitting in antique shops, in auctions, in private collections, because it can be a fake. It can only be treated as a kind the item with his fingers. That is undoubtedly the result even in well- established and well known museums! of reference. If the mark-“mark of reign” shows that it of their rich knowledge and life-long experiences in While scientific devices can detect the “genuineness” was made in the Qianlong period (1735-1795), it this field. 乾隆 of the objects, they can also produce copies— is not necessarily true, it may be made in a later period, Thank you. extremely good copies of the objects. We collectors for example, in the Guangxu period (1875-1908), have to be always very alert and be extremely careful. because as I said before, in this period they made very d This paper is a talk delivered by the author on 12 April 2014 at the The physical aspects of an antique object Centre for Learning and Discovery, Tasmanian Museum and Art Gallery, good copies of porcelain items produced in the Qianlong Hobart, Australia. can no longer be a challenge to modern technology. period. But on the other hand, if the item is claimed to * The author is formerly Professor, Department of Chinese, Precision instruments can take good care of them. The the University of Hong Kong. be made in the Qianlong period, and without any mark h 本文為作者於2014年4月12日在澳洲塔斯曼尼亞 博物及藝術館的公開演講。 # 作者為原香港大學中文系正教授。 NEWSLETTER ISSUE #5, JULY 2014, p10 | www.chineseartsociety.net | [email protected]

我的繪畫老師(一): 饒宗頤教授 黃兆漢教授 * My Teachers in Chinese Painting (1): Professor Jao Tsung-i Professor Wong Shiu Hon #

無古人，後無來者」的曠世奇才！縱 景點。這組「心經簡林」是饒教授以 使他們說得有點誇張，但雖不中亦不 其雄渾無比的楷隸混合書體寫成的， 遠矣。 可與山東泰山的《金剛經》摩崖石刻 比美。更令世人驚歎的是，2011年 饒教授，作為一個學者，很早就成 10月南京紫金山天文臺以國際編號 名了，他19歲（1935年）便任中山 10017的小行星命名為「饒宗頤星」 大學廣東通志館纂修，29歲（1943 ！只是這兩件事，便可以知道世人是 年）便任廣西無錫國學專修學校教 何等尊重和重視饒教授了！ 授。以後，靠著他的天賦聰明和不 斷努力，他成為世界上多所大學、 饒教授精通中文——這不用說了， 研究院的教授和系主任。從1962年 他又可以用英文、法文寫作和演講。 起，他獲得中外各大學、研究院、藝 此外，他又懂日文、梵文，所以他去 術學院、學會一類的學術機構頒贈的 到世界各地都可以與當地人溝通而無 榮譽博士學位、榮譽教授、榮譽研究 阻。也可能是這個原因，世界各國的 員，院士、學術大獎、藝術大獎…… 學者和藝術家都認識他，樂於與他為 等等接近三十個！世界上的學術機構 友。從2002年到2013年為止，國際 都以能夠頒贈學位或獎項給饒教授為 學者特為研究饒教授在學術與藝術上 光榮。就澳洲來說，塔斯曼尼亞大學 的成就而撰寫的專書已有9種，論文 (UTAS)便於2011年頒贈名譽文學博 更多得無法統計。國際學界稱這種研 士學位給饒教授。 究為「饒學」，而「饒學」正方興未 艾，相信在未來的歲月裡「饒學」的 饒教授著作等身。到2013年為止， 盛行一定與日俱增。這從中國各地 就書畫集來說，他已出版過48冊； 的「饒宗頤學術館」、「饒宗頤國學 學術撰著及編纂20多種，其中《饒宗 院」、「饒宗頤文化館」、「饒宗頤 饒宗頤教授（1917年出生）是當今， 頤二十世紀學術文集》（14卷，20 藝術館」、「饒宗頤美術館」、「饒 或甚至近一百年，最有成就最有貢獻 冊，2003年出版）就收入著作60 宗頤學藝研究中心」逐漸增多可以推 和影響最為深廣的中國學者之一，是 種﹗其他散編論文有幾百篇之多。 知個中情況。 國際上響噹噹的漢學大師，是中國學 文學創作（詩、詞、散文集等）有7 界裡常掛在口的「南饒北季」的「南 種。在學術研究成果方面，最令人矚 我從1965年起隨饒教授讀書，斷斷 饒」——中國南方的饒宗頤，或足 目當然是剛剛提到的《饒宗頤二十世 續續，至今差不多五十年，但所學到 以代表中國南方學者的饒宗頤。「 紀學術文集》，後來（2009年）這套 的只是饒教授的學問的皮毛而已，可 北季」是北方的季羨林教授(1911- 文集又出版簡體字版，目的是使它更 謂毫無成績可言！我隨饒教授學畫則 2009)。可惜數年前季教授已經逝 為普及。饒教授的藝術創作成果可見 始於上世紀八十年代，至今只有三十 世，所以饒教授便是當今中國學者的 於《饒宗頤藝術創作匯集》（2006 多年，由於自己天資愚鈍，所得至 唯一代表，即是說，饒教授是中國學 年出版，12冊，收錄書畫作品約 淺。實際上，在繪畫方面，我沒有機 者的首屈一指的人物！ 1500件），《饒宗頤書道創作匯集》 會正式拜饒教授為師，不過，在數不 （2012年出版，12冊，收錄書法作 盡的談話中，我從饒教授學到很多繪 說實話，在學問廣博方面，季教授跟 品約1660件）及《饒宗頤書畫大系》 畫技法和欣賞的知識；更從他的多次 饒教授相比，還差一段距離的。饒教 （2013年出版，24冊，收錄書畫作 示範，我具體地領悟到他的不尋常的 授的學問，無論甲骨學、古文字學、 品約7000件）。 用筆、用墨、用色和用水的技法，令 簡帛學、上古文獻學、考古學、上古 我眼界大開。我常常捧讀他的各種畫 史、中外文化交流史、敦煌學、歷史 饒教授不僅是在國學研究方面無人不 冊，細心研究他的繪畫技巧，發覺他 學、潮學、宗教、藝術、各種古典文 識的大學者，就算一般人，尤其是中 在多方面的成就都是超過很多藝術家 學都有廣泛而精深的研究，尤其是在 國人或曾到香港旅遊的外國人士都無 的，他不單只具有自己的獨特風格， 藝術實踐方面，他不獨書畫俱精，而 人不曾參觀過他寫的「心經簡林」。 而且對繪畫藝術有著不可磨滅的鉅大 且各種書體都可以揮灑自如，各種畫 這是一組38支（每支高達五六米） 貢獻。我不敢說從饒教授具體地學到 類（人物、山水、花鳥、走獸）都達 的木刻佛經——《心經》，全文共 了甚麼，然而，他的突破精神和創新 到非常高的成就。在學術領域中，他 260字，每字差不多四平方尺，屹屹 精神都是深深地影響著我，鼓勵和支 是個通才大師；在藝術實踐中，他是 的聳立在香港大嶼山昂平的高山上， 撐我在繪畫藝術創作旅程上去奮鬥。 個奇葩異人！所以世人都說他是「前 成為與「天壇大佛」一樣有名的旅遊 我的繪畫藝術雖然仍走著傳統的路 NEWSLETTER ISSUE #5, JULY 2014, p11 | www.chineseartsociety.net | [email protected]

線，但是在傳統中我力求創新，務求 塵莫及。在過去的一百年中很難找到 天下山水都盡入其筆底了！八是金銀 寫出自己的風格來，這無疑是受了饒 一位學者能夠與他相比。 二色的妙用。在過去十幾二十年中， 教授的影響所致。 饒教授大量地、豪放地、全面地在各 於此，我不打算進一步討論饒教授 畫類中運用金銀二色，達到前無古人 饒教授的繪畫風格，總的來說，是豪 的學術成就，但卻要介紹他在藝術 的地步。我曾經寫過一篇二萬多字的 邁奔放的，這主要是由於他以豪雄勁 上——尤其在繪畫藝術的貢獻。我曾 專文〈饒宗頤教授彩筆下的金銀世 放的書法線條入畫，所以我以「豪放 經寫過一篇文章〈饒宗頤教授在中國 界〉（見《第二屆饒宗頤與華學暨香 派」一詞去形容他的畫風。本來「豪 繪畫藝術上的貢獻〉（見鄧偉雄主編 港大學饒宗頤學術館成立十周年慶典 放派」一詞是文學史家用來稱謂以宋 《心通造化——一個學者畫家的寰宇 國際學術研討會論文集》，2013年 代蘇東坡（1036－1101）為首的詞 景象》，澳洲塔斯曼尼亞博物美術館 12月）深入討論這一點。九是饒教授 派的——「豪放詞派」，但以「豪放 及香港大學饒宗頤學術館出版，2009 「以畫會友」。他曾與數十位現當代 派」去稱謂饒教授的畫風，我是最先 年），指出饒教授在中國繪畫藝術上 的有名畫家寫合作畫。這些作品，無 一人。饒教授就是一位「豪放畫派」 有十大貢獻和成就。一是饒教授創立 疑是現代畫壇的一個藝術活動紀錄， 大師，或「豪放派藝術」大師！ 一個山水畫的新宗派「西北宗」，能 是現代繪畫史上十分重要的材料，能 夠與唐代以來的南宗和北宗「鼎足三 為將來撰寫現代繪畫史的人士提供了 說到蘇東坡，古今中外的人士只要他 立」，在山水畫的領域裡平分春色， 無比珍貴的實物材料。十是饒教授打 愛好或曾涉及中國的古典文學，都無 為繪畫史寫下新的一頁。二是他將中 破傳統地運用原來畫西洋油畫的帆布 人不認識他。他的詩是有宋一代三百 國畫「學問化」。因為饒教授是國學 作中國畫，而效果是相當別致的，除 多年的第一人，他的詞是整個中國文 大師，文化通才，對儒、釋、道及中 了新鮮之外，還有一種超逸感，甚至 學史上「豪放派」之祖，他的散文是 國的文、史、哲、藝都有極深入的研 生澀感，是另類可愛。 「唐宋八大家」之一，是「宋六家」 究，故此他寫出來的畫，無論題材、 最為人稱道的一位，他的書法是宋代 內容、思想、寄意各方面都比一般 綜觀上述，可見饒教授在中國繪畫藝 之首，他的畫是宋代「文人畫」最有 藝術家豐富得多，深廣得多。三是在 術上的成就和貢獻是多方面的，是鉅 代表性的一位。可見蘇東坡真是一位 饒教授的筆下，詩、書、畫得到一個 大的。它們使到饒教授成為一位繪畫 詩、書、畫樣樣皆精的大才子，在中 新結合，達到「三位一體」的境界。 大師，藝術奇才和文化巨人，是文化 國整個文化史上——尤其是文學史 在一幅畫上，詩、書、畫，無論在內 界的泰山北斗！我能夠有這樣一位繪 和藝術史上都很難找到第二個人與他 容上、風格上都能夠完全統一。四是 畫老師，是我一生中的絕大福氣，可 相比！我覺得饒教授與蘇東坡有不少 以書法入畫。雖然，以書法入畫不是 惜我的成就實在不能與他相比，相差 相同的地方，因為饒教授在文學上和 起自饒教授，但，他在書法上的出類 太遠了，奈何！ 藝術上都是多面手，而且都有不可及 拔萃的成就卻為他的繪畫提供很大的 的成就。自從我將饒教授跟蘇東坡相 助力。他的畫永遠是呈現生氣勃勃， 比之後，很多學術界和藝術界的朋友 我認為很大的原因是拜書法所賜。五 都認同，更有不少人士認為我這「相 是饒教授能使敦煌畫風重生。他愛寫 比」很適合，很正確！香港的藝術評 敦煌畫樣的畫，但每每配以自創的背 論學人鄧偉雄博士便很欣賞我將蘇饒 景，使到畫面上呈現一種趣味橫生和 兩人相比。 充滿生機的氣象。線條和形象，都是 古拙和原始的。這一類敦煌風格的彩 不過，有兩點我認為蘇東坡不及饒教 繪作品佈局新奇，彩色繽紛，形象古 授，而且相差得很遠。第一點是繪畫 拙，我認為是繪畫上的一個新品種， 藝術。據現存蘇氏的繪畫作品來看， 是饒教授的一個非常獨特的產物，是 蘇氏在繪畫方面的成就便遠遠不及饒 「饒家畫樣」，十分值得我們重視。 教授，更不是一般繪畫史說蘇氏的作 品哪麼神妙。第二點是學術的研究成 六是饒教授使禪畫進入一個新階段。 果和貢獻。蘇氏雖有學術著作傳世， 他的禪畫形象奇，佈局新，筆墨灑 但並不多，也不是些驚世鉅著。但饒 脫，彩色特異，書法超逸，題詩不比 教授的學術著作，單是捧出他的《饒 尋常。往往令人精神為之一振，或使 宗頤二十世紀學術文集》20冊便可以 人有「驚心動魄」之感！七是饒教授 將蘇東坡遠遠拋在後面了！在學術成 的山水畫「無景不可入畫」。饒教授 * 作者為原香港大學中文系正教授。 就和貢獻方面，不獨蘇東坡比不上饒 足跡遍天下，又愛寫生，故此他的世 # The author is formerly Professor, Department of Chinese, 教授，很多歷史上的一流大學者亦望 界各地的寫生作品特別多。可以說， the University of Hong Kong. NEWSLETTER ISSUE #5, JULY 2014, p12 | www.chineseartsociety.net | [email protected]

Well-Refined Creation, Where East Meets West: An Introduction to Chinese Paintings and Calligraphy by Professor Wong Shiu-hon Dr. Shui-lung Andy Fung * 中西交會．學藝雙攜——《黃兆漢教授書畫選集》簡介 馮瑞龍博士 #

Many friends within my academic circle know of my This publication contains 117 works, of which mentor and supervisor, Professor Wong Shiu-hon 22, accounting for more than 20%, are works of (黃兆漢), an Australian-Chinese scholar and artist calligraphy (Section 3). The remaining 95 works, who is internationally renowned for his work on the are Chinese paintings, either by Professor Wong (84 history of Chinese poetry, drama, and Daoism. He has works, Section 1,) or in collaboration with other artists written and published 38 books, and was a student of (11 pieces, Section 2). More than half of the paintings, the distinguished contemporary Sinologist Professor about 50 out of the 95 works, are of flowers and Jao Tsung-i (饒宗頤) from the University of Hong birds; with mountains and seas being less common, Kong. It is now widely known that Professor Wong consisting of only 16 works. The rest are figure and and Professor Jao both possess artistic talents, and miscellaneous paintings. are specialists of painting, calligraphy, and cultural antiques. Since Professor Wong settled down in My wife, Irene Chung, and I particularly appreciate Other examples include Vine and Insect (no. 11); and Australia, he has been an enthusiastic promoter Professor Wong’s paintings of flowers and birds. They Bamboo and Chrysanthemum (no. 17). His works are of Chinese culture and has been teaching Chinese capture extremely well the spirit of contemporary well-polished and textured with a sense and meaning, painting and calligraphy to Australians. If readers Lingnan style of painting (嶺南畫派). Animals as he draws with both colour and ink to create bright, have read the articles in a recent work edited by me, drawn by Professor Wong are usually lively and lively and harmonious images. In fact, given his entitled Reflections on Art1, they might have already adorable. Flowers are full of vitality, and insects and incredible achievements, he could be viewed as the gained some insight into the friendship of Professor birds manifest harmony. Typical example can be seen pioneer of the Lingnan School of Painting in Australia. Wong and Professor Jao and their similar views on art. in Two Tigers: Father and Son (no. 78). Others include His subjects, techniques, and inspirations are all fresh In his article Professor Wong describes how he was Koala Bear of Australia (no. 7); and Egret in Solitude and innovative. initiated into art, and provides valuable insights for his (no. 10). Hanging these paintings in our living room future students. The theory and practice of calligraphy gives us a feeling of renewal and the freshness In terms of bird sketches, Professor Wong is particularly and painting as discussed in that book is echoed in of spring. brilliant in painting eagles. I remember when he what is introduced in this selection of his artworks. demonstrated how to draw birds during a speech he gave in Australia. He surprised the audience with his Professor Wong has had an early start in his painting incredible speed in painting, being even faster than career. He learned the art form when he was nine most professional painters. He drew with vigour and years of age and for more than sixty years has force, an example is Eagle and Pine Tree (no. 38). remained passionately and actively involved in painting. According to his prologue to the publication entitled Chinese Paintings and Calligraphy by Professor Wong Shiu-hon2 he has had a number of art teachers including Master Li Fenggong (李鳳公, 1884-1967) from whom he learned flower and bird and figure The Lingnan style absorbs the strengths of classical painting; and Master Liang Boyu (梁伯譽, 1903- and contemporary Western techniques to transform 1979) who taught him landscape painting. There were the art of traditional Chinese painting. It has become also other accomplished masters who influenced his one of the most important schools of contemporary style of painting, such as Master Bao Shaoyu (鮑少 Chinese painting, exerting influence on artists both 游, 1892-1985); Master Liu Haisu (劉海粟, 1896- within and outside China. As well as mastering the craft 1994), and especially Professor Jao Tsung-i (饒宗 of painting very well Professor Wong is an established 頤). scholar in terms of his research on the Lingnan paintings3. His work reveals realistic exploration of In this article I would like to focus on the publication contemporary issues. In terms of the language of entitled Chinese Paintings and Calligraphy by Professor art, he adopts classical painting techniques, yet at Wong Shiu-hon which comprises of three Sections:– the same time boldly assimilates Western artistic Section 1: Paintings; Section 2: Collaborative Paintings, methods for rendering space, structure, transparency, and Section 3: Calligraphy. and shading. Typical representative works are found in Lai-chi Tree and Mantis (no. 8), as shown here: NEWSLETTER ISSUE #5, JULY 2014, p13 | www.chineseartsociety.net | [email protected]

This picture can be viewed as comparable to the theory of education. In order to appreciate how they Drawing of the Maple Hawk by the founder of the encompass the experiences of both “education” and Lingnan Style Gao Jianfu (高劍父) (1879-1951).4 “entertainment,” I seriously recommend attending the The proportions of the eagle are accurate, and it is exhibitions of Professor Wong’s paintings to appreciate coloured with light effects and vitality. The work his artworks. The best way is to watch him perform absorbs both the natural style of Chinese painting and speed painting at a close distance. You will then realize the techniques of Western painting. Most prominent is that there is, actually, not much distinction between the light and shading techniques of the Western style the scholar and folk painter, humanistic and academy of water colour painting. Using ink to form sporadic painting, and concrete and abstract composition. They patterns, it is really an amazing piece of artwork! are different paths leading to the same goal, as all roads lead to Rome. For mountains and seas, Professor Wong uses wild brush strokes to express an unrestrained outpouring 1 of images and feelings. Typical examples are: Looking The future prospects of “New Literati Painting” has Wong Shiu-hon, Reflections on Art.《藝術反思 at the Waterfall (no. 30); 錄》, Shui-lung Andy Fung, Zhen-hui Jeff Feng, become a hot topic commonly discussed in the field Zhu Yu (eds.), BNU-HKBU UIC Arts and Culture of Chinese painting5, with some people consider Development Center Publication Series Number 1. the movement as having reached an impasse. Hong Kong: Lotat Cultural Publication Company,2011. 2 Nevertheless, Professor Jao and Professor Wong have Wong Shiu-hon, Chinese Paintings and Calligraphy provided a perspective for future art students, which by Professor Wong Shiu-hon 《黃兆漢書畫選 集》,Wong Shiu-hon,Thomas Tang Wai-hung (eds.), is to learn from the rich cultural heritage of ancient Hong Kong: Jao Tsung-I Petite Ecole, the University history. Jao and Wong have revitalized the regular, of Hong Kong, Tasmanian Museum and Art Gallery, Australia, Beijing Normal University—Hong Kong clerical and cursive scripts of the Chinese calligraphy Baptist University United International College, 2012. into a new style. It requires a lifelong practice to 3 cultivate artistic talents. I believe that the secret to Professor Wong has undertaken extensive research into success is enthusiasm and commitment. With such an the Lingnan School of Painting. His publications include: (1) 《高劍父畫論述評》 (Criticism of Gao attitude we can develop our own school of thought, in Jian-fu’s Theories of Paintings). Hong Kong: Centre of our own area of specialty with dedication and hard- Asian Studies, the University of Hong Kong, 1972. (2) 《嶺南畫派作品幻燈片目錄提要》 work. The mainstream styles of Chinese painting (Abstracts of the Slideshows of the Lingnan School of are influenced by Lao Zi 老子 ( ) (604-531 BC) and Painting). Hong Kong: Centre of Asian Studies, the University of Hong Kong, 1972. (3)《嶺南畫派 Zhuang Zi (莊子) (369-286 BC), which is similar to 研究》 (Research on the Lingnan School of Painting). the mainstream Confucian trend in Chinese philosophy Hong Kong: Lianfeng Shushe. 2002.

as influenced by Confucius 孔子 ( ) (551-479 BC). 4 Gao, Jianfu, “Drawing of the Maple Hawk” [楓鷹圖], Professor Wong is an internationally renowned scholar hard copy (167.5 cm x 78 cm). Guangzhou Academy of of the history of Daoism and an authority on the study Fine Arts. of Chang San-feng (張三丰) of the Ming Dynasty 5 (1368-1644)6. I also think positively and believe that ‘Chinese Paintings and Calligraphy’[中國書畫] National-level Core Journals of Arts and Culture in China “scholar painting” and “literati painting” will have a (中國國家級藝術類核心期刊). (no. 105, Spring in Southern China (no. 6); and, Stream Coming promising future. September 2011 issue). The topic of discussion in the article is “A Re-evaluation of New Humanistic Painting” from the Sky (no. 31). These works uncover the quest (see pp. 73-75). Ke Wenhui (柯文輝) of Chinese for beauty among ancient artists, such as the six It is a pleasurable artistic experience to look at National Academy of Arts and Liu Xilin (劉曦林) of China Academy of Art had different opinions on the principles of painting proposed by Xie He (謝赫) of Professor Wong’s paintings. There is no distinction issue. Several more important Chinese scholars were the South Dynasty (420-589), which include the ideas of East and West, rich and poor, and highbrow and involved in the heated debate, including Mei Maisheng (梅墨生), Wang Mengqi (王孟奇), Wang Heping ( of capturing both the form and spirit coupled with the lowbrow. They display the characteristics of ancient 王和平), etc. essence of a work of art. Greek art: (1) as they praise human nature and 6 emphasize a sense of playfulness; (2) in so far as they Professor Wong Shiu-hon is a well-known international In terms of painting human subjects, I share Professor authority on the works of Chang San-feng. His show that man has become the frame of reference for publications in this area include: (1) Investigations Jao’s view on scholarly art and literati painting, in measuring everything; (3) as they share the way that into the Authenticity of the Chang San-feng Ch’uan-Chi that human subjects can only be mastered with a (The Complete Works of Chang San-feng). Canberra: Greek art pays particular regard to finding pleasure in Australian National University Press, 1982. (2)《明代 deep understanding of and nurturing within Chinese a mortal world; and (4) as the artwork presents lively, 道士張三丰考》(The Taoist Priest Chang San- culture. This is aptly demonstrated in Professor Wong’s feng of the Ming Dynasty). Taiwan: Xuesheng Shuju, natural and sensuous images. The painter is Chinese 1988. (3) Mortal or Immortal – A Study of Chang San- figure painting entitled: Bodhidharma in Meditation but nevertheless absorbs the ingredients of western feng, The Taoist. Hong Kong: Calvarden Ltd., 1993. (No. 36) illustrated here: art in terms of style, technique, and spirit, forming his creations as East-West hybrids.

What is art? It is an expression of emotions and artistic senses by intellectual beings through various * The author is Associate Professor and Deputy Director, forms and media. I have learnt a lot about the nature of Research Institute of Chinese Studies, Beijing Normal University—Hong Kong Baptist University United art and gained much pleasure from viewing Professor International College, Zhuhai, China. Wong’s paintings. The experience can be described by # 作者為中國珠海北京師範大學—香港浸 the notion of “edu-tainment,” a contemporary American 會大學聯合國際學院副教授兼中國文化 研究所副所長。 NEWSLETTER ISSUE #5, JULY 2014, p14 | www.chineseartsociety.net | [email protected]

Jao Tsung-I Petite Ecole and the Promotion of Chinese Art Christine To * 饒宗頤學術館與推廣中國藝術 杜英華 #

Jao Tsung-I Petite Ecole SAR Government; he was also appointed as the Member Senior Researcher. Since the establishment of the JPE, of the Central Research Institute of Culture and History this division has embarked on over thirty research in the Jao Tsung-I Petite Ecole (hereafter referred to as the JPE), by the State Council of the People’s Republic of China in realms of literature, art, history, and philosophy. located at the University of Hong Kong, is a small-scaled 2009. Professor Jao has been invited to serve as the 7th academic institute which has been established in honour President of the Xiling Society of Seal Arts (西泠印 The Art Division is operated under the leadership of Dr. of the world famous sinologist Jao Tsung-i 饒宗頤 (b. 社) in 2011; he has been appointed as Associate Foreign Thomas Tang Wai Hung, the Curator. As the title implies, 1917). In 2003, Professor Jao donated his collection of Member of Académie des Inscriptions et Belles-Lettres, it focuses more on the promotion of Chinese art. For this books, including precious ancient and rare books, as well Institut de France in 2012. The Induction Ceremony took reason, this article will focus on what this division has as paintings and calligraphy to the University of Hong place at the Chinese University of Hong Kong on 19 done in the past years. Kong .Hence JPE was established. Currently the Petite September 2013. Ecole houses over 30,000 books, and that is why visitors The Art Division holds at least six exhibitions in Hong Kong, Mainland China, or overseas every year since 2010. can see shelves all around the building. In addition, Academic and Artistic Achievements of there is a special collection room that holds important Professor Jao Tsung-i Hong Mainland JPE Overseas Total artworks and books by Professor Jao. Kong China

In the academic region, Professor Jao has devoted 2010 2 2 4 8

Biography of Professor Jao Tsung-i himself to research and is proficient in the fields of 2011 2 2 2 6

Oracle bone studies (甲骨學), studies of bamboo and 2012 7 2 5 1 15 Professor Jao was born in 1917, in Chaozhou, Guangdong wooden strips (簡帛學), studies of Chinese Classics ( 2013 5 5 5 15 Province, China. His father Rao E (饒鍔 1891-1932) 經學), Paleography (古文字學), Prehistory (古代 was a successful businessman and scholar who owned 史), History of International Communications (交通 * Previous Exhibitions from 2010 a studio which contained a large collection of books. The 史), History of Sino-Foreign relations (中外關係史), The JPE and the Promotion of Chinese Art young Jao Tsung-i acquired knowledge mostly through Ethnology (民族學), Religion (宗教), Dunhuang self-learning at his father’s studio. Studies (敦煌學), Wenxuan Studies (文選), Songs of The Art Division contributes in promoting Chinese art Chu (楚辭), Poetry Studies (詩詞學), Bibliography ( In 1949, Jao Tsung-i moved to Hong Kong, and was through exhibitions, publications, and participation in 目錄學), and Chaozhou Studies (潮學). employed first as a lecturer, then senior lecturer and artistic events organized by other institutions or societies. eventually Professor of the Chinese Department at the Regarding Professor Jao’s literary creations, he is skilled Exhibitions University of Hong Kong from 1952 to 1968. Since then, in Classical Chinese (古文), Prose (散文), Rhyme- his research career has started to take off. Prose (賦), Poem (詩), and Ci Poem (詞). The JPE engages in three types of exhibitions. The Because of the academic freedom in Hong Kong, Professor In the art region, his areas of research comprise major purpose of these exhibitions is to demonstrate the artworks and academic achievements of Professor Jao has been able to participate in academic exchange Epigraphy (金石學), Musicology (音樂), History of Jao and to promote Chinese art. In many instances the activities around the world. He was able to lecture at Painting (繪畫史), History of Calligraphy (書法史), JPE cooperates with contemporary artists and private reputed universities and academic institutes around and Connoisseurship (鑑證學). the world, such as, the University of Tokyo in Japan from collectors in holding exhibitions. 1954 to 1955, National University of Singapore between Professor Jao has dedicated to almost every research 1968 and 1973, Yale University in the USA from 1970 topic in Chinese culture, and that is also the reason he I. The first type is for demonstrating the artistic to 1971, the Academia Sinica in Taipei in 1972, and is regarded as “China’s renaissance man” and a “living and academic achievements of Professor Jao. École Pratique des Hautes Etudes (EPHE) in France from treasure in China”. Some important exhibitions are cited in the 1978 to 1979. Moreover, he conducted research in the following sections. studies of Sanskrit in India in 1963, studies of Dunhuang Mission and Objectives of the JPE Endless Stream— Manuscripts in London and Paris in 1965. During his stay With the goals of studying the research fields of Painting and Calligraphy in Paris, he and Professor Paul Demieville (1894-1979), by Jao Tsung-I who was an important sinologist in France, became Professor Jao and following his research direction, the close friends. JPE encourages international exchange on Chinese 長流不息— culture, scholarship, and art. In order to demonstrate 饒宗頤展 Due to his academic attainments, Professor Jao was his academic and art attainments, the JPE has launched 3.10.2007 - 28.10.2007 awarded a number of honourable doctoral degrees, for exhibitions regularly. Furthermore, for the purpose of example, by the University of Hong Kong in 1982, the promoting Chinese art, the JPE is in collaboration with Ecole Pratique des Hautes Etudes in France in 1993, the other artists and art institutions to launch publications University of Macau in 2004, Soda University in Japan in and exhibitions, as well as maintaining collaborative 2006, and the University of Tasmania in 2011, etc. relationships with them. This exhibition was launched at the Kansai International For honours and awards of Professor Jao, he received The Structure of the JPE “Prix Stanislas Julien” for Outstanding Achievement Cultural Centre in Hyogo, Japan. It was the first in Chinese Studies, France, 1962; Officer de L’ordre des The JPE comprises three groups— the Research Division, overseas exhibition since the establishment of JPE. Arts et des Letters by the Ministry of Culture, France, the Art Division, and the Administrative Division. The Approximately 100 art pieces, including landscape 1993; Grand Bauhinia Medal (GBM) by the Hong Kong Research Division is led by Dr. Peter Cheng Wai Ming, the painting, figure painting, Buddhist painting, and calligraphy were displayed. NEWSLETTER ISSUE #5, JULY 2014, p15 | www.chineseartsociety.net | [email protected]

Casting the Characters 鑄奇字 The Amalgamation of Gold and Ink on Canvas, Mind and Universe 50 x 60 cm, 2008 心通造化 The use of gold and ink 27.8.2009 - 5.11.2009 makes the three characters look like castings.

Devil Forest, North-western China 十三間房魔鬼林 Colour on Paper, 89 x 146.5 cm, 2009 Five Sacred This exhibition was held at the Tasmanian Museum and Mountains of China Art Gallery in August 2009, and it was Professor Jao’s 五嶽圖 first exhibition taking place outside Asia. Professor Wong Shiu Hon and Mrs Nancy Wong have played a crucial Colour on Paper role in bringing this exhibition to reality. Through their In this painting, Professor Jao has applied Northwestern 138 x 68 cm x 5 introduction, Sir Guy Green and Mr. Bill Bleathman have School landscape techniques which he created to depict 2001 started to know about Professor Jao and developed the the unique scenery in the Northwest of China. idea of introducing his art to the Tasmanians. In order to know Professor Jao better, they visited the JPE in August Five Sacred Mountains of China 五嶽圖 2008; after several meetings, they decided to launch an Colour on Paper, 138 x 68 cm x 5, 2001 exhibition at TMAG in 2009. In October 2008, Sir Guy Zest to Dunhuang—Jao Tsung-I’s Dunhuang Paintings and Mr. Bleathman attended the opening ceremony of and Calligraphy 莫高餘馥 (8.8.2010 - 31.10.2010) Integration of the Present and the Past held at the Palace Integration of the Museum, further gaining a deeper understanding of this The exhibition took place at Dunhuang Academy Present and the Past— renowned scholar. of China, Gansu Province, China. At the same time, Academia and Art of “International Conference on Dunhuang Studies in Professor Jao Tsung-I In this exhibition, 79 pieces were demonstrated in 4 Honour of Professor Jao Tsung-I’s 95th Birthday” was themes—painting, calligraphy, new approach, and 陶鑄古今 also held. In order to celebrate the special occasion, the studio objects. JPE re-published The Line Drawing of Dunhuang, one of 29.10.2008 - 12.11.2008 Professor Jao’s important academic writings. The Coastal Scenery of Tasmania Dunhuang is located in north-western China. Since 塔斯曼尼亞 the Han Dynasty (202 BC - AD 220), it had been an 海岸景色 important city on the Silk Road, a significant cultural Colour on Paper, 125 x 248 cm, 2008 exchange and trade route. In addition, Dunhuang had This exhibition was held at the Palace Museum in Beijing, been the centre of art and cross-culture civilization, as and 120 paintings and calligraphy were displayed, well as the cradle of Buddhism in China. It is also famous along with over 100 important academic writings and for its mural paintings. other publications. Calligraphy in the Style of Shang to Tang Dynasties - Oracle Bone Script, Chu Bamboo Script, In the exhibition, the paintings and calligraphy were in The significance of this exhibition is that Professor Jao’s Mawangdui, Dunhuang the Dunhuang style. Through the appreciation of these achievements have been widely recognized because the 四體書法四屏 works, the viewers could at least have a general concept Palace Museum rarely launches exhibitions for living Water on Paper, of Dunhuang Studies. artists, and this exhibition is the fourth one ever held for 229 x 47 cm x 4, 90’s artists that are still alive. In the exhibition, 150 paintings and calligraphy were displayed, covering the subjects of Dunhuang Sketch Style (線描), Dunhuang Fresco Style (彩繪), Scenery of Dunhuang (敦煌風光), Calligraphy in Dunhuang Sutra Scroll Style (寫經), Calligraphy in Dunhuang Wooden Strip and Paper (木簡殘紙), and Dunhuang- The following three paintings demonstrate Professor related Calligraphy and Painting (碎金). Jao’s new approaches to printing. Although Professor Jao Scenery of Multi View Tower 多景樓書畫卷 Colour on Paper, 34 x 552 cm, 1977 is almost a hundred years old, he never stops developing Dunhuang Sketch Style (線描)— new methods for painting and calligraphy. Tiger 山君畫樣 Colour on Paper Bathurst Harbour 巴特斯港 68 x 138 cm, 2006 Colour on Acrylic Canvas, 50 x 60 cm, 2009

In order to share with art lovers in Hong Kong these extraordinary artworks, 60 pieces were selected and displayed at the University Museum and Art Gallery of In this painting, he painted in Western style, combining the University of Hong Kong from 19.11.2010 - 6.2.2011. Scenery of Qiuci 龜茲夢遊 the techniques of oil painting and water colour painting. Colour on Paper, 68 x 138 cm, 2008 The feedback was encouraging. NEWSLETTER ISSUE #5, JULY 2014, p16 | www.chineseartsociety.net | [email protected]

The Ling Drawing of Dunhuang Seven-character Poem in Running Script by Yu Youren 于右任行書七言詩 Water and Ink on Paper 78 x 36 cm Collection of Dr. Tang Wai Hung Yu Youren 于右任 (1879 - 1964) was noted for his calligraphy and a master of cursive script. When Professor Jao was in France, he had a chance to read the Dunhuang manuscripts taken to France by Paul Publications Pelliot (1878 - 1945), who was a sinologist, linguist, and explorer. And then he discovered the sketches on Besides exhibitions, the JPE also promotes Chinese art the backside of the manuscripts and scrolls, hence he through publications, and most of them are bilingual: commenced to study this particular type of painting. Chinese and English. Generally, catalogues will be Afterwards, Professor Jao referred to the same type published before each exhibition. of works housed in the British Museum, and finished In addition to the exhibition catalogues, the JPE also The Line Drawing of Dunhuang in Chinese. It was also produces other types of catalogues, such as Collected translated into French and published by École française Art Works of Jao Tsung-I (12 volumes) published in d’Extrême-Orient in 1978. Because this version is 2006; The Line Drawing of Dunhuang (Chinese, English, rarely seen today, the JPE re-published this important Japanese) published in 2010; Professor Jao Tsung-i’s academic work in Chinese, English and Japanese. The Collected Artworks (9 volumes) published in 2011; Chinese version was printed based on Professor Jao’s Collected Calligraphic Works of Professor Jao Tsung-I manuscript, and the English version was translated published in 2012. In addition, the JPE also publishes according to the French edition. catalogues for other important artists, such as Collected Calligraphic Works of Van I-Pong (2011) and Paintings III. The third type of exhibition is held in cooperation and Calligraphy by Professor Wong Shiu Hon (2012). with private collectors. Participation in Artistic Events 1911 Revolution: On the path of promoting Professor Jao’s academic and Collection of Works of artistic achievements, the JPE also actively participates 100 Historical Figures Chinese Version in important art activities. 辛亥革命人物 Through Professor Jao’s art creation in various themes, 真蹟大展 Yam Kim Fai Research Project people are able to learn and know more about Chinese Yam Kim Fai 任劍輝 (1913-1989), a famous art and culture. 29.5.2011 - 30.6.2011 Cantonese Opera performing artist. She was able to successfully render male roles, and was one of the II. The second type of the exhibition is held in most influential cross-casted Wenwu sheng 文武生( , collaboration with contemporary artists. civilized/martial man). Exhibition of This exhibition took place at the International Finance This project is organized by Professor Wong Shiu Hon Paintings and Centre (IFC) in Hong Kong with 100 exhibits on display. and it was initiated in 2010, aiming to promote the Calligraphy by Professor Because of the topic and the location, the exhibition art of Yam Kim Fai and encourage young scholars to Wong Shiu-hon attracted a large audience. undertake research in Cantonese Opera and further pass the art form down to younger generations. 詞心畫意 1911 Revolution was a significant movement that overturned the Qing dynasty and brought China out 2010 Hong Kong Arts Development Lecture Series 8.5.2012 - 8.6.2012 of imperialism. As 2011 was the 100th anniversary of 24.8.2012 - 28.8.2012 Four lectures presented by Dr. Thomas Tang Wai Hung the revolution, the Curator of JPE , Dr. Thomas Tang Wai took place every three months in 2010. Admission to Hung and several private collectors initiated the idea of these talks was free. The purpose of which was to explore an exhibition displaying the paintings and calligraphy Hong Kong art development in the form of lecture and This exhibition was held at the JPE from 08.05.2012 done by those who were involved in the revolution. The discussion. The topics includes “The Development of to 08.06.2012, and at the Guangdong Art Institute, number of artworks on display was also 100. Because Hong Kong Contemporary Painting”, “The Development Guangzhou, Guangdong province, China from 24.8.2012 most of the revolutionists were intellectuals, their works of Hong Kong Water and Ink Painting”, “The Introduction to 28.8.2012. are therefore important to the development of today’s of the Painters who Imitate Dunhuang Mural Painting”, art and academic fields; for example, and “The Development of Hong Kong Seal Carving Art”. For the exhibition in Hong Kong, around 20 paintings and calligraphy were displayed, and Professor Wong’s Poem of Cao Zhi in Seal Script by Zhang Taiyan Through exhibitions, publications, and the involvement important academic publications in Chinese painting, 章太炎篆書曹植句 in art activities, the JPE not only presents the academic traditional Cantonese opera, Daoism and Ci poetry were Water and Ink on Paper Fan and art achievements of Professor Jao, it also devotes 18 x 44 cm also shown to viewers. Collection of Dr. Tang Wai Hung itself to the promotion of Chinese art. This article is Regarding the exhibition launched in Guangzhou, 38 simply an introduction of what the JPE is doing, but I paintings and calligraphy were on display. hope that readers are able to get at least some general Zhang Taiyan 章太炎 (1869-1936) was a highly concepts of the JPE through this paper. respected master of Chinese culture, who was an expert in classical studies, Chinese philosophy, phonology, * The author is Assistant Curator, Jao Tsung-I Petite Ecole, etymology, literature, and Buddhism, etc. the University of Hong Kong. # 作者為香港大學饒宗頤學術館助理藝術 統籌主任。

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