This presentation aims at selecting the representative artists from the Hong Kong art scene to tell the global art lovers a virtue, that the painting arts of Hong Kong forbear a coexistence among Chinese, Asian and Western aesthetics. Under a liberal and democratic circumstances, Hong Kong artists can search for their marketing potentials by manipulating political, ecological and narrative elements as their creative themes.

1. Speaker:Vincent LEE Kwun-leung ( 李冠良 )

2.  Oil on Canvas
 Acrylic on Canvas
 Coloured Pencil on Paper
 Watercolour on Paper
 Pencil on Paper
 Charcoal on Paper / Wooden Board

4.  A devoted studio
artist from Fo Tan
Industrial District
 Competed for the
seat of Legislative
Council Functional
Constituency in 2012,
but was defeated by
Ma Fung Kwok ( 馬逢
國 )

5.  Realistically
portrayed the movie
episodes with
subtitles by using oil

6.  Henry Tang asked whether CY Leung would suppress the protesters during the
Debate Forum of Chief Executive Election in 2012

7.  CY Leung claimed that the June 4 Incident was a tragedy during a
press conference before his service as a HKSAR Chief Executive.

8.  Invented the
“Gongbi Painting
with Hong Kong
features” (gongbi:
fine-brush painting)
 Apply his “gongbi”
style on the
humorous comical-
figure expressions
while encountering
with the political-art
community projects

9.  Glass-
curtain
sisters
 Aunties

10.  Portrayed the historical Chinese leaders from Republican era to
Communist era by using coloured pencil
 Awarded piece in “Hong Kong Contemporary Art Biennial Exhibition”

11.  Portrayed the Governors before the Handover to reminisce how the British laid a
meritorious foundation for Hong Kong to maintain its socio-economic prosperity

12.  A devoted studio
artist from Fo Tan
Industrial District
 Invented the
methodology of
drawing and
painting on
abandoned wooden
boards with a
mixture of charcoal,
oil, acrylic and
Chinese ink

13.  Mixed media on wooden board: Figure with Western anatomy, landscape
background with Chinese spiritual essences

14.  A retired policeman whose watercolour
paintings were acknowledged by
Governor Chris Patten
 Established a Country Art Museum in Tai
Po for selling his paintings

15.  Portrayed Dr. Sun Yat-sen and Madame Soong Ching-ling with rocky
textures to show his admiration on the history of Republican China

16.  Portrayed a monumental watercolour painting with political leaders, business leaders
and celebrities from Hong Kong and Mainland China to glorify the socio-economic
prosperity after the Handover

17.  A retired postman
who is the first local
artist to explore
abstract painting
with acrylic as
medium on canvases
 Themes are related
to Zen philosophies,
with circles and
vulvas as
iconographies
 His works are
collected by Jardine
House, Hong Kong
Museum of Art and
other institutions.

18.  Mixture between Chinese
and Western aesthetics on
canvases

19.  An abstract highlight on the gap of a lady’s vulva – explored the philosophy of
whether human beings can restrain their lustful desires during their
observation on a sexual organ for the pregnancy of babies

20.  A contracted Fujianese
artist from Art Of Nature
International Company
Limited, who has ever
studied at Paris Academy
of Fine Arts
 As the President of Hong
Kong Oil Painting Research
Society, Lam Man Kong
endeavours to organize
“Hong Kong Oil Painting
Competition” annually to
raise Hong Kong people’s
awareness on the beauty
of Impressionistic and
Realistic European oil-
painting art

21.  Humorously portrayed the interactions between Jacques René Chirac, the
Former French President, and a nude lady during a formal function with lots
of nobles and social celebrities

22.  A young artist who
establishes a
children art studio
in Kwun Tong
 His colourful
marker drawings,
with Umbrella
Revolution as
episodes, catches
the attention of
press media

23.  A democracy statue was
established at the
Admiralty Occupation
Zone, which held a piece
of yellow umbrella.
 The aim of Umbrella
Revolution was to strive
for “Civil Nominations” as
an important element of
Universal Suffrage.

24.  “Listening to Human-Cassette-Players” – The yellow-ribbon youngsters were dissatisfied with the vague
promises by CY Leung, the top-ranked HKSAR government officials and Beijing leaders in revising the
August-31 decision of National People’s Congress towards the format of Universal Suffrage.

25.  Collins Yeung’s colourful marker drawing, with Paris Massacre as creative
theme, was published by South China Morning Post.

26.  Created a series of
drawings as an
academic research
on the issues of
heritage and
architectural
conservations

27.  “Bedspace
Apartment” is an
important
problem for the
government to
resolve, as the
property
hegemony makes
lots of basic-class
people unable to
purchase flats and
tolerate poor
living
environments
inside the decayed
Chinese
residences.

28.  “Blue House” is a unique
cultural heritage in
Wanchai District.
 Despite of urban
renewal, this stylistic
architecture symbolizes
the endeavouring
memories of our elder
generation, and it cannot
be demolished.

29.  Currently a Form 5 student
at St. Paul’s Co-Education
College
 Obtained the Highest
Honour from “The 33rd
International Youth
Montmartre Life Drawing
Competition” and “The
Hong Kong International
Youth Drawing
Competition 2013/14 – Life
Drawing Competition”
 Obtained two Gold Awards
and “Award for the Best
Global Individual
Portfolios” from “The 15th
Portugal International
Youth Drawing
Competition”

30.  The Education
Bureau of Russia
has made a
breakthrough by
inviting Chiu Man-
yan to organize a
solo exhibition for
her drawing works
at Moscow
National Academy
of Fine Arts

31.  Chiu sought a mixture
between Western
watercolour
aesthetics and
Chinese-ink aesthetics
by portraying the
hillside residences in
Hong Kong.

32.  Chiu does not care about
whether drawing medium can
help her succeed as a master
artist or not. She shares much
similarity with philosophy of
William Kentridge, only
getting fascinated with the
leisurely use of charcoals for
portraying the humanistic
episodes from the public
streets. For sure, she manages
to use colourful watercolours
as well.

33.  “Gongbi”: fine-brush / delineative painting
 Outlining the contours of the objects and filling in the
colours with repetitive or semi-transparent layers
 Using fine and tiny brush for contour-outlining
 Mixing the Chinese watercolours with traditional
mineral-pigment powders
 Sometimes the artists can use silk as graphic
mediums to highlight the luminance of the portrayed
objects
 Adopting Western or Japanese figurative elements is
acceptable for making “gongbi” as an asset of Hong
Kong painting art.

34.  Keen at
portraying the
narrative episodes
in a tranquil vision
 The narrative
episodes are all
related to the
livelihood of
basic-class people

35.  Moonlight
 A Sleeping
Nude Lady

36.  Invented the
“Gongbi Painting
with Hong Kong
features” (gongbi:
fine-brush painting)
 Apply his “gongbi”
style on the
humorous comical-
figure expressions
while encountering
with the political-art
community projects

37.  Portrayed the local college girls with standardized uniforms and appearances, which
meant that the educators nowadays mechanically mold the students by forcing
them to regurgitate textbook and examination knowledge. The students rarely
discover their uniqueness in their personalities because they lack independent and
critical thoughts.

38.  Wong Xiang Yi is
fascinated with Japanese
comics. She has chosen
BL comic series (i.e.
“Boys Love” series) as
her creative theme for
developing her own
“gongbi” style and
raising public awareness
on the bitterness of
homosexual minorities
in Hong Kong.

39.  Wong Xiang Yi thinks
that, it is not a sin for
two young twinks, who
truly love each other, to
share the same living
area despite of no
marriages.

40.  Wong Xiang Yi thinks
that, the physical
interactions between
two twinks have
transcended the
secular perception on
the notion of love. The
homosexual minorities
are pursuing “heavenly
love”.

41.  “Yibi”: self-expressive painting (or “xieyi painting”)
 Chinese-ink and watercolour on xuanzhi paper
 Adopting the elements of Rococo, Impressionism, German
Expressionism, Cubism or Abstract Expressionism is acceptable, under
a criterion that the “vividness of spiritual essences” and “vibrancy of
structural brushworks” are preserved.
 Adopting the elements called “Principles of Design” is acceptable, so
as to strive for a balance between the “emotional” qualities of
“moisturized ink leisures” and the “rational” qualities of “geometrical
and spatial distributions” in the entire visual presentation
 Form a school of creative thought called “The Modern Chinese-Ink
Painting with Hong Kong features” ( 港式現代水墨 )

42.  Lui Shou Kun was the
founder of “Modern Chinese-
Ink Paintings with Hong
Kong features” to stir up a
social-wide reform in the
aspect of Chinese brush
methodologies.
 He deconstructed the
language of Chinese ink to a
minimal and symbolic status,
so as to convey the Taoist
philosophies.

43.  Wucius Wong is an
honourable consultant in
many local governmental
institutions related to
Chinese-ink art
administration.
 He grew up from a
background of design
studies, thus he hopes to
merge what he learnt with
the “Chinese spiritual
essences” of the literati-art
traditions.

44.  Wucius Wong assumed
himself as observing the
landscape of Hong Kong
from the airplane, and
the mountainous
patterns with rivers
were intentionally
separated by the
“satellite-liked” grids.

45.  Wucius Wong thinks
that, the awesomeness
of atmospheric episodes
from the nature, no
matter for the waterfalls
or the fogs, are
fabricated by a “logic”
(li, 理 ) from Heaven.
Thus, “rational grids”
can be accepted to
ensure that the river
water is evenly flowed
to different parts of the
Earth.

46.  Luis Chan believed that art
could be very imaginative.
He was deeply influenced
by the European
expressionistic painters
from the 20th
Century, such
as Marc Chagall. He wanted
to create a series of works
to illustrate the humanistic
episodes of Hong Kong
people.

47.  Luis Chan portrayed the humans with
disordered anatomies. He rarely used
Chinese ink. He believed that a piece
of Chinese painting, with xuanzhi
paper as the graphic medium, could
be as colourful as a piece of narrative
oil painting by Marc Chagall. Thus, he
chose to apply acrylic pigments on
xuanzhi papers.
 From this piece called “The Embrace”
(1968), Louis Chan wanted to tell
stories from his painting, which
corresponded with the vision of
Romanticism.

48.  Chan Shing Kau is a
loyal apprentice of
Liu Guosong ( 劉國
松 ), who initiates
the trend of
“Modern Chinese-
Ink Painting” in
Taiwan.

49.  Chan Shing Kau invented
three kinds of
methodologies, namely:
 “plucking sinew and peeling
skin” strokes ( 抽筋剝皮皴 ),
 “white linear as a substitute to
black linear” ( 以白絲代替黑
線 ), and
 “white linear for a production
of tensions” ( 白線產出張力 )

50.  Brenda Hong is an
apprentice of Chan
Shing Kau. She
promotes a
feministic mode of
moisturized ink
leisures.

51.  Brenda Hong’s expertise is to
paint lotuses with a Rococo
vision. The lotuses are
described with an adjective
called “drunk”, as the petals
of the floral blossoms are
seemingly dived into a glass
of wines to release the
lipstick-liked pigments.

52.  Researcher of “Li Keran
Academy of Painting
Arts” ( 李可染畫院 )
 “Lotus Series” and “Tibet
Series” are his most
famous creations
 A brave use of colourful
pigment transformations
with intentional
highlights of melted gold
powders to enhance the
connoisseurship values

53.  The petals of the lotuses were presented as round
regiments with childhood features, whereas the
floral axises were bold and straightforward without
textural modifications

54.  Lam Tin Hang loves travelling to Tibet and observing the minimal lifestyles
of the ethnical minorities there.
 He disorders the architectural structures of temples and monasteries.
These constructions are decorated by sunset and autumn environments
through splashing moisturized watercolour pigments onto different parts
of the xuanzhi papers.

55.  Selected institutions that have collected Lam’s
pieces:
 China Museum of Fine Arts ( 中國美術館 )
 National Academy of Painting Arts ( 國家畫院 )
 Guangzhou Museum of Fine Arts ( 廣州美術館 )
 Shenzhen Museum of Fine Arts ( 深圳美術館 )
 Hong Kong Museum of Art ( 香港藝術館 )
 Hong Kong Museum of Heritage ( 香港文化博物
館 )
 The Government House of Hong Kong ( 香港禮
賓府 )
 The Washington DC Economic & Trade Office of
the HKSAR Government ( 香港駐華盛頓貿易發
展局 )
 Cathay Pacific Airways Limited ( 香港國泰航空
公司 )
 Four Seasons Hotel Hong Kong( 香港四季酒店 )
 Four Seasons Hotel Macau ( 澳門四季酒店 )
 Mandarin Oriental Hong Kong ( 香港文華東方酒
店 )
 Beijing Shangri-La Hotel ( 北京香格里拉酒店 )
 United Airlines ( 聯合航空公司 )
 Credit Suisse Group AG ( 瑞士信貸銀行 )
 Bank of China (Hong Kong) Limited ( 香港中國
銀行 )

56.  Apple Daily
 Oriental Daily
 Wen Wui Po
 South China Morning Post
 The Hong Kong Museum of Art
 Hong Kong Visual Arts Yearbook
 Artron.net
 Artvalue.com
 Arthongkong.net
 Collins Yeung Art Studio
 Wilson Shieh Cultural Palace
 The Art Of Nature International Company Limited
 China Star Light Charity Fund Association
 Country Art Museum
 A-Lift Gallery
 Declarations:
 The selection of artworks were not attributed to the consideration on political ideologies, but
were subjected to a careful research on whether the corresponding creative styles comprise
connoisseurship values or not.
 The sequence for the distribution of selected artists in this PowerPoint slide was not designed
in accordance with the issue of age hierarchy.