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Thematic Exhibitions
Ju Ming — Sculpting the Living World
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Living world series – ordinary
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Living world series – ordinary
1995 – 96
Wood

Until 2014.6.15

Piazza (G/F), Special Exhibition Gallery, Contemporary Hong Kong Art Gallery, Lobby (2/F)

Jointly presented by the Leisure and Cultural Services Department and the Juming Museum
Jointly organised by the Hong Kong Museum of Art and the Juming Museum
 

"Ju Ming - Sculpting the Living World" is the first large-scale solo exhibition of the world-acclaimed artist Ju Ming in Hong Kong. All exhibits belong to the Living World Series, in which Ju Ming uses different materials to create sculptures that portray the stories of daily life, and people's different roles in family and our society. The exhibition gathers 120 sets of artwork in wood, ceramics, stone, bronze and stainless steel, together they elaborate on the evolution of the Living World Series since its inception 30 years ago, revealing the artist's observation and reflection on contemporary life.

Admission Fee:
Monday, Tuesday, Friday to Sunday
$20 (standard), $10 (full-time students, people with disabilities and one accompanying minder and senior citizens aged 60 or above)
Wednesday
$10 (standard), $5 (full-time students, people with disabilities and one accompanying minder, senior citizens aged 60 or above)
30% off for groups of 20 people or more (standard rate)
 
No free admission on Wednesdays and for Museum Weekly Pass holders to this exhibition
Free admission for Museum Pass holders and children under 4 years old
 
Bonds of Memory: Wan Qingli's Collection of Chinese Art Given by His Teachers and Friends Exhibition
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Until 2014.4.23
Chinese Fine Art Gallery (4/F)

With his unwavering pursuit of excellence in painting, Professor Wan Qingli has made a significant contribution to the research of Chinese fine art. In addition, Professor Wan possesses a substantial collection of paintings, calligraphy, seals and letters by pivotal artists of the 20th century, all priceless gifts from his teachers and friends since his youth in the 1970s. Growing up under exceptional political circumstances in China, he went through the years of anguish during the Cultural Revolution. China's "Reform and Opening Up" program enabled him to leave for study abroad in 1984, and he was later offered a post as professor of art history at The University of Hong Kong. The works from his teachers and friends are memories of their acquaintance and lifelong friendship. Professor Wan once wrote, "Collecting can still be unrelated to money; it is a testament of affection and affinity."
 
This exhibition showcases more than 140 Chinese paintings, calligraphy, seals and handwritten letters from 54 artists and scholars, each associated with abiding memories from Professor Wan's life journey. The exhibits are divided into five chronological sections: (1) "Little Friend of the Ox-Shed" (1963 – 1973) — During the Cultural Revolution, Wan was imprisoned in a makeshift prison at the Central Academy of Fine Arts (CAFA) in Beijing known as "the ox-shed", where he met Li Kuchan, Li Keran, Guo Weiqu, Wu Zuoren and Huang Yongyu. (2) "Returning from Farm Labour, Days at the Beijing Fine Art Academy" (1973 – 1979) — Wan returned to the capital and entered Beijing Fine Art Academy after having been sent to perform farm labour during the "Down to the Countryside Movement". Works from Wan's seniors and colleagues like Cui Zifan, Yin Shoushi, Pan Jiezi, Lou Shibai, Zhou Sicong, Zhang Renzhi and Shi Qi will be included in this section. (3) "Back to the Central Academy of Fine Arts" (1979 – 1984) — Wan was accepted as a student of Lu Yanshao, then re-enrolled at the CAFA in 1979. Wan and Lu corresponded frequently. The letters and landscape paintings by Lu record Wan's enthusiasm in pursuing art. This period also includes works by Lin Sanzhi, Fei Xinwo who worked in the Jiangsu Traditional Chinese Painting Institute, as well as Fang Zengxian and Lu Kunfeng from the Zhejiang Academy of Fine Arts. (4) "A Nationalist with an Elitist Overseas Doctorate" (1984 – 1989) — Handwritten letters between Wan and his teachers during his study sojourn in America illustrate the exchange of noble inspiration and true affection between them. (5) "A Retainer at Universities in Hong Kong" (1989 – 2011) — Wan taught at the University of Hong Kong and the Hong Kong Baptist University. Works by his friends including Qi Gong, Yang Renkai, Huang Junshi, Hu Yongkai, Lu Fusheng and Li Geng annotate Professor Wan's life of teaching in Hong Kong. Moreover, exhibits also include some of the seals engraved by Professor Wan's friends including Han Tianheng, Wu Zijian, Wang Yong and Zhang Zining.
 
This exhibition aims to shed light on the development of art styles in politically traumatic 20th century China. These works of art and written correspondence between Wan and leading artists of the period are no longer merely personal possessions, but a visual record of history.
 

Audio Guide Audio Guide

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Herd boy on a buffalo
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Li Keran (1907 – 1989)
Herd boy on a buffalo
1977
Vertical scroll, ink and colour on paper

Heaven, Earth and Man — A Hong Kong Art Exhibition
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Exhibition poster
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Exhibition poster

Until 2014.8.30

Art Square at Salisbury Garden, Hong Kong Museum of Art

In front of the Hong Kong Museum of Art, the Salisbury Garden is reopened to the public since February 2014 after its renovation, turning it into Art Square for visual art events, music performances and other cultural activities. "Heaven, Earth and Man – A Hong Kong Art Exhibition" will be the first-ever outdoor exhibition at Art Square.

Three renowned local artists, Danny Lee Chin-fai, Kum Chi-keung and Rosanna Li Wei-han created large and site-specific sculptures for the Art Square. With the theme of "Heaven, Earth and Man", the sculptures will guide the visitors to appreciate the different elements of nature, to explore the interaction between humans, and also to enjoy the artistic atmosphere around. You may listen to the artists talking about their artworks and inspiration while appreciating the artworks, through scanning the QR Code on-site.
 
As a forecourt of the Hong Kong Museum of Art, the Art Square will serve as an open platform, allowing more direct dialogue between the Museum and the visitors. We look forward to seeing you at the new landmark of Tsim Sha Tsui Harbourfront.
 
Ming and Qing Chinese Arts from the C. P. Lin Collection
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2014.5.3 – 9.28
Chinese Antiquities Gallery (1) (3/F)

Post-war Hong Kong was fortunate to become a repository for important antiques within the South China region. From 1949, prominent collectors from  mainland China moved to Hong Kong with a dazzling number of Chinese antiques, giving rise to a rare opportunity for collecting exquisite artworks. Veteran local collector Mr Peter C. P. Lin had pursued his studies in the United Kingdom during his early years, and was influenced there by the trend for collecting Chinese antiques, cultivating in him a passion for collecting. Lin refers to it as "bonds between people" and "bonds between objects", which are indeed the maxim of a dedicated art collector.

This exhibition showcases 270 Ming and Qing dynasty artworks from the C. P. Lin Collection, featuring precious objects made exclusively for the imperial court - exquisite porcelains, rare jades, intricately carved rhinoceros horns, ivories and bamboo objets d'art, iridescent painted enamels and glass. Through the materials, colours, craftsmanship, forms, and images of Chinese antiquities, the exhibition focuses on historical Chinese artistic pursuits, drawing viewers to a feast of beauty, and demonstrating a perfect coherence of craftsmanship and aesthetics reflecting the splendour of China.

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Jade covered chrysanthemum cup in Mughal style
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Jade covered chrysanthemum cup in Mughal style
Mark and period of Qianlong (1736 – 1795)
Qing dynasty

Paris • Chinese Painting: Legacy of the 20th Century Chinese Masters
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Egrets by the river
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Lin Fengmian (1900 – 1991)
Egrets by the river
1945 – 46
Ink and colour on paper
Collection of Hong Kong Museum of Art

2014.6.20 – 9.21
Chinese Fine Art Gallery (4/F)

Presented by the Leisure and Cultural Services Department
Jointly organised by the Hong Kong Museum of Art, the Musée Cernuschi and the Musée National des Arts Asiatiques Guimet, Paris
Supported by the Consulate General of France in Hong Kong and Macau
Sponsored by the Bank of China (Hong Kong) Private Banking
A programme of Le French May and France-Chine 50

Paris has long been a European art and cultural hub where the liberal atmosphere enabled different streams of thought to burgeon and thrive, and since the 20th century this city has seen generations of Chinese artists hone their painting skills. Following the trend to learn from the West new ways of transforming traditional conventions, these artists left their motherland in search of inspiration. Visiting museums and learning under the guidance of masters, they acquired Western painting skills and perceptions, pioneering a revolution in Chinese painting art circles.

Artists like Liu Haisu, Xu Beihong, Lin Fengmian and Pan Yuliang left early for France. These young Chinese artists had a mission. After returning to China, they contributed immensely to the introduction of artistic trends from overseas, the development of oil painting and bouleversement of Chinese painting. They also founded fine arts schools in the country, cultivating in a new generation of painters the aspiration to further their studies in France. Among these students, Zao Wou-ki, Chu Teh-chun and Wu Guanzhong became well-known figures in the international art scene, anchoring the notion of ‘creating the art of an era'.

This exhibition showcases almost a hundred works, including oil paintings, Chinese ink paintings, sketches, lithographs, sculptures and more, demonstrating the impact and revelation of European art on 20th century Chinese painting. Exhibits have been composed from the collections of the Musée Cernuschi in Paris, the Hong Kong Museum of Art and several major institutions in France.

The Musée Cernuschi holds one of the finest Chinese art collections in France, and its Chinese painting collection comprises the works of various Chinese painters who travelled to France during the 20th century, illustrating their different practices and inclinations on the blending of Chinese and Western painting skills.

A Journey into Chinese Painting: A Selection of Works from the Xubaizhai Collection
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Xubaizhai Gallery of Chinese Painting and Calligraphy (2/F)

During the Ming and Qing dynasties, there was a proliferation of schools of painting as a result of stylistic currents and the influence of regional cultures. The rise of wealthy cities also contributed to this diversity. The Wu School of mid-Ming period, and the Songjiang School and Huating School of late-Ming period, all originated in the Jiangnan area. An upsurge of salt merchants in Anhui province brought economic prosperity to the region, resulting in the emergence of the Xin'an School. Meanwhile, the historical city of Jinling (present-day Nanjing),  a metropolitan city in the south during the Ming and Qing periods, fostered the Jinling School. The legendary Hangzhou, and Yangzhou, an important commercial centre in the early Qing, attracted huge numbers of artists throughout China. The prosperity and social dynamics of Yangzhou in particular inspired the Eight Eccentrics to create unconventional subject matter. Many of the professional artists frequenting Jinling, Hangzhou and Yangzhou were renowned literati rather than conventional commercial artists, revealing that social historical changes entailed a transformation in art.

The exhibition showcases selected paintings from the Xubaizhai Collection, featuring different painting schools of the Ming and Qing dynasties. It aims to offer a new perspective on Chinese art history and to provide visitors with a clearer view of the lives of Chinese artists during this period.

In association with this exhibition, the Museum collaborates with the Hong Kong Design Institute students and teaching staff from Higher Diploma in Printing and Publishing Programme and Higher Diploma in Digital Music Media Programme to present works of the Xubaizhai Collection in the form of an innovative electronic book and animation, which can be downloaded on iPad for free later on.

Audio Guide   Audio Guide

About the Animation:

Pianxian, a passionate young dancer, travels back through time to the tumultuous years of the late Ming dynasty. Reincarnated as Li Xiangjun, a renowned courtesan in Nanjing, she falls in love with the young literatus Yang Wencong. Later, Yang joins the anti-Qing campaign and the lovers part forever, their love story scattered like a capricious dream amidst the collapse of Ming. Selected works of the Xubaizhai Collection are featured in this animation, inviting the audience to travel through different paintings as the story unravels. The paintings featured in this animation are on display in the gallery.

(Duration: appro. 5 mins.)

Video Clip Video Clip

Viewing plum blossoms

Jin Tingbiao
(act.1757 – 1767)
Viewing plum blossoms
Hanging scroll, ink and colour on paper

Hand in Hand with Hong Kong Art: Laurence Tam
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Hong Kong Museum of Art located at The Hong Kong City Hall in the 1980s
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Hong Kong Museum of Art located at The Hong Kong City Hall in the 1980s

Museum Lobby (1/F)
 
Mr Laurence Tam (1933 – 2013), the first Chief Curator of the Hong Kong Museum of Art, dedicated his whole life to pursue art education, museum services and to promote new ink art. Mr Tam was awarded for his sheer enthusiasm and whole-hearted dedication in enriching the Hong Kong art scene and was awarded the MBE by Queen Elizabeth II in 1993. Conceived as a retrospective, the display features Mr Tam's life-long dedication and contribution to art.
Collecting for 50 Years — The People and Their Stories
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Chinese Antiquities Gallery (2) (1/F)

The Hong Kong Museum of Art celebrated her 50th anniversary in 2012. She was born together with the Hong Kong City Hall in March 1962. On the top three floors of the City Hall High Block, there were The City Museum and Art Gallery, the predecessor of the Hong Kong Museum of Art.
 
Thanks to the support of collectors, artists and sponsors, the Museum has managed to build up a comprehensive collection of more than 15,800 items. Yet what matter the most are the passion and stories that are hidden behind. Looking back to the road trodden in the past 50 years, it is easy to see that we do not collect mere objects, but we are collecting people and their stories, and we are collecting for the people and with the people of  Hong Kong.
 
Over the decades, many behind-the-scene players have been crucial in shaping the Museum and our history. They include many generous donors, our supportive Friends, the expert advisors, voluntary docents, artists, sponsors, collaborators… and above all, our ex-curators and colleagues, as well as our visitors. To celebrate and to commemorate this memorable occasion, we offer 50 fond stories in this exhibition. These stories will be a recollection of people and unknown anecdotes associated with the Museum, from which we walked through the past decades and now in pursuit of our next 50 years with Hong Kong.
In 1980s, the work site of the Hong Kong Museum of Art in Tsim Sha Tsui
In 1980s, the work site of the Hong Kong Museum of Art in Tsim Sha Tsui
Hong Kong Contemporary Art Awards 2012 — Thirteen Dimensions of Hong Kong
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Exhibition view

Exhibition view

Until 2014.6
Historical Pictures Gallery (3/F)
 
Presented by the Leisure and Cultural Services Department
Organised by Hong Kong Museum of Art
Art Media Partner: Art Map
 
 
With the mission of encouraging the engagement of artists with the creation of art as well as reviewing the recent development in the local visual art scene, the "Hong Kong Contemporary Art Awards 2012" received fervent submission of artworks from nearly a thousand entrants. The selected works include painting, Chinese calligraphy and seal carving, sculpture, photography, installation, video and digital art. This section of the exhibition gathers thirteen selected entries which show a strong sense of locality. They not only reflect the inseparable relationship between Hong Kong artists and local culture, but also highlight the uniqueness of Hong Kong art in this globalised world.
 

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