A collection of art criticisms for the aesthetic philosophies of Neo-Chinese-...VincentKwunLeungLee
(1) Chan Shing-kau and his loyal Neo-Ink followers – Being the genuine avant-gardes of “original Hong Kong aesthetics” to facilitate a cross-strait admiration on Hong Kong fine arts
(2) Neo-Ink Creativity in Hong Kong since the 21st Century:
From a Modernistic emphasis on medium experimentation to a Contemporary notion of perceptual language
(3) Chan Shing-kau – Inheriting an institutional language of “original Hong Kong aesthetics”
(4) Contemporary Chinese-ink as a unique asset of Hong Kong fine arts
(5) Hui Yan Ki – Experience tranquility from mountainous heteromorphy
The Evolution of HK Art Of Nature International Feminist Art Research SocietyVincentKwunLeungLee
From my proposal of establishing the Research Society in 2011 to a joint exhibition in 2015
PART 1: The Role of Hong Kong Female Artists in the New Era of Global Culture and Consciousness
PART 2: Cissy Cheung promotes the Chinese-ink masterpieces created by Mrs. Anson Chan's mother
PART 3: Infinite Love – 1st Hong Kong International Female Contemporary Art Exhibition
A collection of art criticisms for the aesthetic philosophies of Neo-Chinese-...VincentKwunLeungLee
(1) Chan Shing-kau and his loyal Neo-Ink followers – Being the genuine avant-gardes of “original Hong Kong aesthetics” to facilitate a cross-strait admiration on Hong Kong fine arts
(2) Neo-Ink Creativity in Hong Kong since the 21st Century:
From a Modernistic emphasis on medium experimentation to a Contemporary notion of perceptual language
(3) Chan Shing-kau – Inheriting an institutional language of “original Hong Kong aesthetics”
(4) Contemporary Chinese-ink as a unique asset of Hong Kong fine arts
(5) Hui Yan Ki – Experience tranquility from mountainous heteromorphy
The Evolution of HK Art Of Nature International Feminist Art Research SocietyVincentKwunLeungLee
From my proposal of establishing the Research Society in 2011 to a joint exhibition in 2015
PART 1: The Role of Hong Kong Female Artists in the New Era of Global Culture and Consciousness
PART 2: Cissy Cheung promotes the Chinese-ink masterpieces created by Mrs. Anson Chan's mother
PART 3: Infinite Love – 1st Hong Kong International Female Contemporary Art Exhibition
Li Xiaowei is a Fine Arts Professor from Fujian Normal University. I knew Mr. Li because I helped him curate his oil paintings at Fuzhou Art Of Nature Saloon in summer 2011. Mr. Li is a creative person. He likes to reflect his philosophical thoughts on different social phenomenons through narrative means of figurative descriptions. Mr. Li truly knows how an artist should behave because he never imitates any traditional norms but works hard to invent his own visual languages. He reflects the spirit of open-mindedness within the Fujianese art intellectuals.
You can go through my acrylic paintings and neo-Chinese-ink paintings from this proposal. Through a literary mean of description, you will understand how I search for an integration between Chinese and Western aesthetics, as well as my holistic exposure to different creative possibilities.
Dr. Martie Geiger-Ho composes a paradise with ecological conservation as a co...VincentKwunLeungLee
Dr. Martie Geiger-Ho taught me Ceramics during my studio-art studies at HKBU AVA. She is the first-ever art educator who inspired my interest in clay building, glazing and kilning. Indeed, Martie is a holistic artist. She manages to create sculptural ceramics with splendid decorative patterns, acrylic paintings and porcelain vases. She persists with the idea of Naturalism due to her selection of ecological materials. She cares for the underprivileged classes as well and tries all possible means to let this group of students demonstrate their creative talents for receiving more social recognition. For sure, Martie's scholastic researches are awesome and are published as reference art books for contemporary art-history archives.
This is a piece of dissertation in Grade B+ level. I wrote this very general topic based on the elementary perspectives of literati painting, Chinese aesthetic spirits, Sinology, self-expressive painting, union between Heaven and Man, and coexistence between calligraphy and painting. I legitimately learn how to write a formal piece of Chinese art history research by quoting a large sum of convincing book references once I have made clear with lots of complicated concepts and knowledge that I haven't learnt during my Bachelor era. Now, I have adjusted the contents for my dissertation before the uploading based on the corrections from Dr. Lee Chi Kong:
關於你的論文,幾㸃意見謹奉參考。
首先,文中有個最大謬誤,是多處將南宗與浙派混為一談。浙派崇尚南宋馬、夏,是董其昌所厭棄的風格。此外,論文第一段舉藍瑛為例亦不太妥當,因為被畫史譽為浙派殿軍的藍瑛,比董其昌小三十歲,屬後輩,董其昌成名時藍瑛尚未成氣候。畫風固不入董眼,但亦不足為其掛齒。
其次為錯別字,「黃公望」多處誤作「黃宮望」。其他如:
翰林圖畫院(頁1)
皆從董、巨得來(頁1,注1)
折釵股(頁1,注3)
乾淡(頁5,兩處)
致虛守靜(頁6)
淡彩赭石(頁6)
滃鬱恍惚(頁7)
幼獅文化(頁10,注26)
米萬鍾(頁10,注32)
以余所見(頁13,注37)
國學大師饒宗頤於其《饒宗頤二十世紀學術文集:卷十三.藝術》學術著作內專門研究「黃宮望與《富春山居圖》」、「明遺民書畫初論」、「八大山人畫說」等美術史議題,可見饒公作畫時意境乃以元文人畫精神優先、明清經世致用之學之臨摹為輔。
饒公之獨創「饒荷」,於花蕊、花辮、荷葉及枝莖之處理上,不單只兌現北宋《宣和畫譜》之「松竹梅菊」精韻,亦流露著近代名家張大千及李可染「色俗」上之大膽突破,同時又不失宮廷繪畫之瑰麗堂煌。
講者曾於2017年考察澳門回歸賀禮陳列館(Museu das Ofertas sobre a Transferéncia de Soberania de Macau)內之「饒荷專題展館」,大致上把饒荷藏品劃分為四類畫風:「潑墨」、「金碧彩荷」、「禪荷」及「純墨君子」,可見饒公既有媚俗亦有淡泊歸隱一面,先賢性情及人生歷練多變,於此變幻無常的大芊世界「游於藝」,自然每幅墨寶均展現不同的治學涵養,後人如林天行及王守清畫當代荷塘彩墨時也有參考。
The normal-institute system of Modern China and Hong KongVincentKwunLeungLee
The normal universities of Mainland China, Taiwan and Hong Kong (namely EdUHK) pursue an educational mission which is uniquely different from the grammar universities. First, normal universities only put a prior emphasis on Art, Music and PE education. The grammar universities stress medical, business, industrial and judicial courses which make the Fine Arts departments inside become a minor academic emphasis within the mechanism of extreme elitism. Second, art educators and art alumni from normal universities comparatively have less ambitions to become prominent and professional master artists. They are non-secular in aesthetic minds and they simply think about the proper methodologies of enlightening students' interests in creative arts.
However, art intellectuals from normal universities reflect a kind of humanistic sentiments. They will care for the prospects of national and social developments. They have empathetic minds to comprehend the psychological needs of their art students instead of having an utilitarian mind to press their art students for more concreted rewards from the bureaucratic mode of outcome-based curricular system. They know how to guide their art students how to enjoy the processes of creative experimentation, whereas they are rather open-minded to diversified medium possibilities.
How Lu Xiaoman inherited Greenish Landscape Painting of Jin Cheng's style und...VincentKwunLeungLee
Lu Xiaoman was a holistic female talent with a keen emphasis on Greenish Landscape Painting, and she absorbed inspirations from the writing of her poet husband Xu Zhimo.
Alumni sharing after the joint display at CUHK Chien Mu Library, talking about my issuing of journal articles on Chinese art-history researches after my MAFA graduation from CUHK
C&G Art Department創辦人張嘉莉(Clara CHEUNG)於International Association of Art Critics Hong Kong發表了一篇名為《Reconstructing the Hong Kong cultural identity by reconnecting with history through art exhibitions and performative rituals (from the construction of the “Lo Ting” myth in 1997 to the revival of ritualistic practices in 2014)》的學術文章,旨在探討民間宗教鬼神習俗若放在畫廊空間內再現,能否有效地鼓勵觀賞者把傳統祭祀融入生活去重塑後殖民地時代的文化身份認同。Clara與浸大CVA校友蟻穎琳一樣,有按照中大文化研究系教授何慶基博士辦《盧亭神話》專題展的策展理念,以超現實主義的油畫手法,繪畫魚頭人的戲玩幻像,兌現洪席耶及Walter Benjamin主張敘事性創作及玩味的精神,道出一切歷史也是像神話般由管治者虛構的哲學迷思。
Clara認為《盧亭神話》此「偽民族志」旨在以visual artifacts兌現人類學考察重視的material culture,乃「關係美學」的一種,又被稱作「關係藝術」,是美術實踐上所呈現的一種模式或者趨勢,最早發現並提出者為法國藝術評論家Nicolas Bourriaud。Nicolas Bourriaud認為「關係美學」並非獨立的私人空間,而在理論或者實踐上從整體人類關係和社會背景發展的藝術實踐模式;這時藝術家應當被視為呈現關係美學的「催化劑」,而非整個藝術概念的中心。
Alumni sharing by me after exhibiting my works in the Christian Art Biennial Exhibition, in which Ms. Wu Yin Ching was also a participating artist. Additional acknowledgement given to Sumling for her achievement of emergence as a COLLAR singer.
1. Internal Tutorships
2. External Tutorships
3. History Study Forum
4. Monthly Studio Parties
5. Academic Fruits and Exhibitions at CUHK Fine Arts
6. Report from Press Media
7. Self-Journalism
8. Talks at Hong Kong Society of Humanities
9. Collections
10. As a P1X3L Supportive Hub
11. Overseas Academic Exchange
12. Forecasts
The Kowloon Walled City Series is based on an interdisciplinary research on graphic art like experimental linear drawing, photography such as Greg Girard's documentation, Chinese calligraphic references such as Yan Zhengqing's stele scripts, the journal articles about anarchic urbanism, and the neo-figurative painting styles recommended by Prof. Lui Chun Kwong. The CUHK Fine Arts MAFA Graduation Show will be grandly opened at CUHK Art Museum on 10 July, Sunday. The Kowloon Walled City will be displayed by seperating two generalized streams as "Anarchic Urbanism" session and "Homecoming Dad" session, so that the visitors can perceive how I am eager to enjoy the nourishments of love within a pale mode of retreated livelihood. (* The images have been reduced due to the limitation of 5MB file size for file uploading, and this PDF is 2MB only in which all the texts remain unchanged.)
The Kowloon Walled City Series is based on an interdisciplinary research on graphic art like experimental linear drawing, photography such as Greg Girard's documentation, Chinese calligraphic references such as Yan Zhengqing's stele scripts, the journal articles about anarchic urbanism, and the neo-figurative painting styles recommended by Prof. Lui Chun Kwong. The CUHK Fine Arts MAFA Graduation Show will be grandly opened at CUHK Art Museum on 10 July, Sunday. The Kowloon Walled City will be displayed by seperating two generalized streams as "Anarchic Urbanism" session and "Homecoming Dad" session, so that the visitors can perceive how I am eager to enjoy the nourishments of love within a pale mode of retreated livelihood.
Humanity Paper - Forecast to Renewal of Chinese Sexual PerceptionsVincentKwunLeungLee
This was a group paper from Dr. Lo Kwai-cheong's Humanity course called "Chinese & Western Modes of Thoughts". The points from this paper were as similar as my recent avocations about the lack of love nourishments and a desire for becoming a Homecoming Dad. You can see that I could be that avant-garde in gender issues during my BUVA studies in Donald Tsang's administration era, in which I could enjoy a wet kiss with my ex-girlfriend at Kai Yip Estate after my VA lessons at Kai Tak Campus. Corresponding with the "Sumling Effect", I cannot control the drop of tears while reading this Humanity paper with a Distinction, as I have lost lots of stuffs from my sweetest BU memories due to the intransigent requests from my two secondary Alma-Maters and CUHK for my ability in becoming an "academic hegemony" at the expense of my creampie opportunities.
Professor Alexander Wai Ping-kong is definitely a good BU principal, even performing better than Lui Ki-cheong and So Pui-ting judging from their boycott on my CUHK MAFA Graduation Show.
The final two pieces of my "Kowloon Walled City Series" have been fruitfully finished. For the last piece, I employed a lifeguard colleague to serve as my nude model. The whole experimentation began with pencil-drawing session of 1.5 hours for each piece, and I created two drawings based on the model. Then, the second part was a formal life description of the lifeguard model onto the 48" x 36" canvas, and the long pose lasted for one hour. After this Final Presentation, there will be still an "Oral Examination" at CUHK Art Museum before the grand opening ceremony of the CUHK Fine Arts MAFA Graduation Show.
This is a required proposal for submitting to CUHK Art Museum. An evaluation is conducted by CUHK Art Museum concerning the location of exhibits, sizes of exhibits, light effects and creative mediums. My Graduation Project is actually nine pieces of Western paintings, and there is nothing complicated for the technicians at CUHK Art Museum to specifically render. My paintings will be exhibited on the 2nd Floor, which will be the exhibition panels near the entrance of CUHK Art Museum Administration Office. This location has ever been selected by the Western-painting graduate from the MAFA Year 2 class last year.