DIGITAL EXHIBITIONS2
當代展品
Contemporary Exhibits
異墨境
李泳麒
2023年
數碼噴墨打印
65.5 x 276 厘米
1955年，中華人民共和國文化部中國文字改革委員會發佈了第一批異體字整理表，並決定從次年2月1日起開始，全國實行停止使用異體字的政策，包括所有出版的報紙、雜誌和圖書。整理表是按照音序排列而成，一共列有810組異體字。
過去，當我在掃描和存檔被國家淘汰的異體字時，我發現每一個異體字在放大後，竟然像一幀又一幀的抽象山水殘影，出現在電腦螢幕上。《墨經．經說下》曾言：「景，光至，景亡；若在，盡古息。」光影交替生成存在，並為對立；正體字與異體字的循環淘汰，是為進步。文字的改革是文化的演進，如今我把已經失傳的異體字作數碼實驗，以展出一片又一片正負相存的《異墨境》。
Variant Character Inkscape
Lee Wing Ki
2023
Digital inkjet prints
65.5 x 276 cm
In 1955, the People’s Republic of China and its Chinese Character Reformation Committee published the ‘First List of Variant Characters’ and decreed that, beginning on 1 February 1956, all publications in the country including newspapers, magazines and books would be forbidden from using variant characters. The list was arranged phonetically, comprising 810 groups of variant characters.
When I scanned and archived the variant characters, I found that when enlarged, they appeared to become an unfinished inkscape on the computer screen. In the Mozi (c. 470 BCE—c. 391 BCE), it is said that light and shadow is a phenomenon—when light reaches a place, shadow disappears, as if its existence was exhausted and its past extinguished. Light and shadow appear and exist in their own oppositional states. The replacement of variant characters by formal characters is viewed as an act of progress. In this work, I have experimented with the variant characters to create abstract inkscapes in both positive and negative images.
港大中大校訓
李潤桓
2023年
水墨紙本
每件6 x 3尺
文字表述；碑刻頌讚。以往一般均由作者使用不同的文房四寶(各種毛筆，紙張，或色墨)製作。作者書寫作品，由於需要，再由匠工複製，甚至放大縮小，轉移到不同的物料之上（諸如木石雕刻，金屬銘鑄）。因此改動而致減損原作的精神，這也是退一步的無奈，當然不同物料的操控，對作者製作，亦會產生不同的困難和限制。
此作以隸書寫上香港大學校訓「明德格物」，以及以金文，即大篆，寫上香港中文大學校訓「博文約禮」。
Mottos of The University of Hong Kong and
The Chinese University of Hong Kong
Lee Yun Woon
2023
Ink on paper
Each 6 x 3 ft
Expressions in texts; eulogies and commemorations in inscriptions. In the past, calligraphers and writers relied on the ‘Four Treasures of the Study’, which encompassed brushes, paper, ink and ink stones to craft their compositions. Authors created calligraphy while craftsmen reproduced the writing. At times, these craftsmen would alter the size or revise the text to suit specific functional demands, necessitating the transfer of the work onto different materials such as wood, stone or cast metal objects. This modification or transfer process often led to a loss of the original work’s spirit, and working with diverse materials imposed constraints on what the author could create. Such compromises were unavoidable, as different mediums presented their own technical challenges.
This work presents calligraphy bearing the motto of the University of Hong Kong ‘Wisdom and Virtue’ written in clerical script, and the motto of The Chinese University of Hong Kong ‘Through Learning and Temperance to Virtue’ written in seal script.
外星蛙托邦墨跡碑帖
郭孟浩（蛙王）
2023年
混合媒介裝置
尺寸可變
透過一系列以「蛙」爲主題的書法和拼貼作品，我希望探討皇帝的正統性，以及其所建構之身份的真僞。正如古代的秦始皇，甚至是近代的「九龍皇帝」和我「蛙王」同樣以文字宣示個人身份，期望留名於世。此作用不同的中英文字詞組合，以不同書體和文字內容連繫不同國家和年代的帝王, 解構「帝王」的古今意思。我以「蛙王」的身份，並置於歷代帝王和人稱「九龍皇帝」的「香港塗鴉元老」展品中，幽默地表達這似是疑非的承傳關係。
我的多件不同媒材的作品均以墨跡書法和碑帖圖片拼貼交疊而成。一方面回應是次展覽對古代碑刻具建構歷史和身份認同的議題；另一方面交代漢字在中國文化和歷史中的意義。文字能夠記錄個人事跡，還可以團結一個國家和民族，讓其歷史和文化得以留傳後世。小至社區，大至國家，甚至「星際」和「任次元」，都有類似皇帝的人物角色存在，超越了「萬古長空」的限制。
Calligraphy and Printed Ink Rubbings of Inscriptions for the Ultra-space Frog Utopia
Kwok Mang Ho (Frog King)
2023
Mixed-media installation
Dimensions variable
Through a series of calligraphic and collage works based on the theme of ‘Frog’, I explore the concept of the king’s legitimacy and the authenticity of identity construction. Much like the Qin Emperor or ‘the founder of Chinese graffiti in Hong Kong’, the modern-day King of Kowloon, I, known as the ‘Frog King’, employ textual elements to proclaim my ‘royal’ identity and aspire to achieve lasting recognition through my name.
The various combinations of Chinese and English characters in this work explore the symbolic and fundamental nature of writing. Additionally, the collage of images of ink-rubbed texts echoes the national and historical significance of Han characters in Chinese culture. Texts can record personal stories, as well as unite a nation and its people, allowing the transmission of history and culture to future generations. From local communities to nations, and even across the universe to ‘other dimensions’, the king’s reputation transcends all boundaries, defying the constraints of the ‘ancient world’ to symbolise the king’s endless fantasies of power and status.
我愛你
梁群嬌
2023年
油彩布本
每件 45 x 106 厘米
在中國古代，僕人必須向皇帝和皇后磕頭，以表示忠誠，否則可能會受到懲罰。愛與恨往往源於民族主義、偏見和種族主義的偏見。今天，我們仍在學習什麼是愛，以及如何向某人表達愛。「我愛你」這三個字可以理解為個人的話語，但這也可以與打破界限、國界和傳統的愛聯繫在一起，無論文化差異如何，「我愛你」這句話在每個國家和地區都會說。
這個項目中的繪畫《我愛你》的靈感來自於中國的黑白書法，這句話讓我很感動，因為我在20多歲時聽到他們對我說這句話。通過在畫布上使用黑白油畫，幫助我了解當代和傳統在宣紙上用墨水處理漢字的方法。用油彩書寫中英文單詞的動作代表了東西方的融合。當黑白顏料混合時，顏色是流動的，它產生了灰色區域，無論是字面上還是象徵上。這個項目代表了我的中國傳統，表達了我對我的出生地香港的熱愛。我來香港是為了說「我愛你」。
第一幅用中文寫的《我愛你》表達了我對舊中國香港的熱愛；第二幅英文《我愛你》代表香港在英國統治下的時期；第三幅中文《我愛你》則代表我對香港的持久熱愛。
I Love You
Leung Kwan Kiu
2023
Oil on canvas
Each 45 x 106 cm
In ancient China, servants were required to kowtow to their emperors and empresses as a demonstration of their loyalty; failure to do so could result in punishment. Love and hate are often stem from the biases of nationalism, prejudice and racism. Today, we are still learning about what love is, and how we show love to someone. The three words ‘I love you’ can be read as personal words, but this can also be linked to love that breaks down boundaries, borders and traditions, regardless of cultural differences, the phrase ‘I love you’ is said in every country and language.
The paintings in this project I Love You were inspired by Chinese calligraphy of black and white, and these words have touched me since I heard them say to me in my twenties. By using black and white oil on canvas, it helps me relate to contemporary and traditional ways of working with Chinese characters in ink on rice paper. The action of writing in Chinese and English words with oil on canvas represents the fusion of East and West. The colours are fluid when the black and white paint are mixed, it creates grey areas, both literally and figuratively. This project represents my Chinese heritage and expresses my love for my birthplace, Hong Kong. I have come to Hong Kong to say, ‘I love you’.
The first painting ‘I Love You’ that is written in Chinese suggests my love for Hong Kong when it was part of Old China; the second painting ‘I Love You’ in English refers to the time when Hong Kong was under the British rule, and the third painting ‘I Love You’ in Chinese represents my enduring love for Hong Kong continues.
龍．鳳
梁藍波
2023年
水墨紙本
139.5 x 134.5 厘米
龍和鳳是中國皇權的象徵，而天圓地方又體現了中國的宇宙觀，當代水墨《龍．鳳》以律動的狂草書法取代通常出現在皇袍和雕刻上的龍鳳圖案，並將其置身於方圓結合的水墨架構，體現了藝術家對中國水墨傳統、書法和哲學精神的當代詮釋。
《龍．鳳》的書法在保留線條的骨法用筆和傳統的間架結構的同時，強化了狂草的乾濕對比、疏密變化和龍飛鳳舞的意藴。象形和字意的相互輝映、幾何抽象與動勢抽象的相互融合，既強化了作品的視覺衝擊力，又充分利用富於動態的水墨肌理，營造出一種氤氳渾沌的宇宙氛圍和豐厚強盛的生命張力。
作品透過狂草的圖像和充滿動感的水墨的穿梭交織，延展傳統水墨的語彙，並推進水墨藝術向抽象性和後現代性演化。這些深邃神秘的畫面讓觀者感受到大自然驚心動魄的力量，體味到宇宙生命的躁動，並在解讀這些迷幻空間時獲取一種顧念永恆、跨越時空的人生體驗。作品旨在追尋老莊哲學雄偉博大、磅礡昂揚的精神氣概，以及剛柔相濟、主客交融的浩瀚境界。
Dragon · Phoenix
Leong Lampo
2023
Ink on paper
139.5 x 134.5 cm
Dragons and phoenixes are symbols of Chinese imperial power, whereas the circle and square represent heaven and earth in Chinese cosmology. The contemporary ink painting Dragon · Phoenix replaces the typical representational motifs of dragons and phoenixes that commonly appear on imperial robes and carvings. Instead, it incorporates a rhythmic cursive Chinese calligraphy blended with an ink structure that combines squares and circles. This approach reveals a contemporary interpretation of the classical Chinese ink tradition and ancient philosophical spirit.
Synthesising geometric abstraction and gestural abstraction, Dragon · Phoenix incorporates the brush marks of wild cursive Chinese calligraphy with geometric structures. This is attained by accumulating layers of splashed ink to generate an ethereal quality and sense of moving energy in a mysterious and powerful cosmic space.
With water and ink constantly colliding and intertwining, these familiar yet abstract postmodern imageries extend the visual language of traditional calligraphy, making us aware of nature’s miraculous vitality, as well as the enigmatic process of creation in the universe. Reflecting a reverence for both the spirit of Daoism and the sublime, as well as an ever-renewed wonder at a universe revealed to us through modern science and space exploration, this work celebrates the dynamic energies that give birth to new life, new planets and new stars.
獅子山下
曹焯焱
2023年
水墨紙本冊頁
每開 47.5 x 28.3 厘米
釋文
「重城璀璨錦繡酬，醉人雲物任春秋。
比來憶舊華街里，瑤台是處滿瓊樓。
應從大道勤求索，文明百代付吟謳。
不朽香江名句在，無畏無懼正同舟。」
舊時的香港是一個五光十色和充滿活力的文化之都，甚至擁有「東方明珠」的美譽。近年，社會重新掀起了尋找集體回憶的熱潮，令到城市中不少正要消失的舊景點成為新的打卡熱點。我以金石的形式紀錄一首自己創作的詩，藉此寄語香港人要堅持保育本地文化。與其在事物快要消失時才感到懷念可惜，倒不如在它們還存在的時候好好感受探索一番，把獅子山的精神與文化傳承下去。作品利用傳統穎拓的方式，以毛筆和墨汁模仿金石拓片的創作，並且使用《好太王碑》的字體書寫以及用傳統推篷裝的冊頁方式裝裱，以保留中國傳統文化。
Under the Lion Rock
Tso Cheuk Yim
2023
Album, ink on paper
Each page 47.5 x 28.3 cm
Dubbed the ‘Pearl of the East’, Hong Kong in bygone days was a vibrant and colourful city of culture. In recent years, there has been a growing enthusiasm for taking pictures of old places and items on the brink of vanishing, which has created a collective wave of nostalgia for old Hong Kong. I wrote this poem to encourage the people of Hong Kong to uphold and preserve their local culture. Rather than feeling regretful or upset as things are about to disappear, it is better to explore them when they still exist. We should safeguard the Spirit of Hong Kong (The Spirit of Lion Rock) and pass it on to the next generation. The artwork is created using a Chinese brush and ink to imitate the traditional rubbing technique employed on gold and stone objects such as steles in ancient times. It adopts the style of calligraphy used on the Gwanggaeto Stele, and is framed in the conventional form of an album as a response to the traditions of Chinese culture.
東方回響系列
楊玉勤
2023年
手工手繪白瓷、獨印版畫
每件約 15 x 15 x 16 厘米
中國書法一直是我的創作動力和精髓。書寫時運筆的輕重起落、着墨多寡帶出的質感、字體結構的平衡或不規則、由文字與心緒帶動出來的情感思維、都是我的靈感來源。我的陶瓷創作往往融合中國書法的精華和版畫創作的技巧，自成一格，反映旅居國外的中國藝術家的個人身份。
文字能夠影響我們的思想、情緒和行為，既可激勵、撫慰或平靜人心，也是傷害、讓人消沉和洩氣的利刃。在這次展覽中，我專注於探索文字的力量，並邀請自己的家人和朋友告訴我他們特別喜愛和覺得有意思的字、詩或詞。秦刻石拓本啟發了我用單刷版畫的創作手法，先在紙上塗上黑色泥漿，然後刻寫出收集回來的文字和自己喜愛的詩詞，再移印到纖薄的瓷土板上；輕柔捲起瓷板，形成一組文字手卷，紀錄了當下的情意思緒。
Eastern Echo Series
Yeung Yuk Kan
2023
Hand-built, hand-painted and monoprint porcelain
Each about 15 x 15 x 16 cm
Chinese calligraphy has always been the driving force behind my creations, be it ceramics or drawings. The essence of Chinese calligraphy has been ingrained in my subconscious. The movement, the texture, the lightness, the strength, the balance and the emotions all serve as sources of inspiration. My study of Chinese calligraphy, printmaking and ceramics have merged to shape my artworks. They reflect my personal identity as a Chinese artist living abroad.
Words shape our thoughts, emotions and actions. They can inspire, motivate, comfort and uplift. On the other hand, words can also harm, demoralise and discourage. In this exhibition, I explore the power of words. I asked my family and friends to choose words that they find inspiring and meaningful. The monoprint on the porcelain object is inspired by the ink rubbings of inscriptions from Qin dynasty cliffs. My own choice of poems and collected words are used for the monoprint. The engraved words were first applied with a black slip on paper, and transferred onto a thin, rolled-out porcelain slab. I then carefully rolled up the porcelain slab to capture and preserve the emotions in words, echoing the traditional Chinese calligraphy handscroll.
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