DIGITAL EXHIBITIONS2
前言
Foreword
香港大學美術博物館榮幸呈獻《皇帝碑刻．當代啟迪》展覽，為觀衆前所未有地展出一系列古代和當代藝術並置的文字墨跡及其拓片。在中國歷史上，鐫刻在石上的文字，以及其用作廣泛傳播的文本複製品和拓片，通常都是在頌讚和宣揚帝皇功德。直至現在，它們更成為了九龍皇帝和蛙王等「自命皇帝」的創作，進而擴闊了我們對碑刻藝術的想像空間。
本展覽旨在為觀衆帶來一個既富有學術性又有趣的藝術體驗，當中強調了書寫文字的永恆價值，以及歷史上重要的書法創作發展。中國漢字作為傳統價值觀、文化現象和個人表達的象徵，更啟發了本展覽對漢字的當代和創新應用。是次展出的作品突顯不同藝術媒介的特性，當中包括碑銘拓本、紙本書法、刻在陶瓷上的書法墨跡，以及當代藝術裝置等，而所有作品都承載着文字墨跡深厚的意義。
展覽是次展出多種不同媒介的作品，正正切合了當今世代的需求。我們雖然愈來愈少機會看到文字墨跡，取而代之的是電子屏幕，而我們也愈來愈習慣一秒千里的訊息傳播，但我們對欣賞書法之美的追求是始終如一。本展覽希望觀衆可以靜心停下來看看作品，反思它們如何與過去連繫和反映當下，以及思考傳統藝術的創作手法如何在未來得到應用。
我們感謝參展藝術家為是次展覽作出特別和寶貴的付出，並感謝李潤桓教授、李銳清教授、香港浸會大學圖書館，以及香港大學馮平山圖書館借出展品。同時，我們衷心感謝藝術推廣辦事處總監劉鳳霞博士發起及支持這次與油街藝術空間合作舉辦的展覽。透過油街實現藝術空間，香港大學美術博物館才得以將主展覽的內容延伸至現代藝術與裝置作品。我們衷心感謝香港大學博物館學會為本次展覽提供經費支持。
羅諾德博士
香港大學美術博物館總監
The University Museum and Art Gallery (UMAG), The University of Hong Kong (HKU) is delighted to present Kings’ Inscriptions · Contemporary Interpretations, an unprecedented exhibition of calligraphic texts and their rubbings, juxtaposing historic and contemporary artworks. In Chinese history, inscriptions in stone, as well as written copies and rubbings used to disseminate their meanings, frequently referred to the qualities and actions of kings. In our contemporary era, it is the work of self-proclaimed kings, such as the King of Kowloon and Frog King, among others, that captures our imagination.
The exhibition is intended to be both academic and playful. It emphasises the lasting significance of the written word, showcases the historic occurrences of important calligraphic texts and highlights the innovative contemporary use of Chinese characters to convey traditional values, cultural phenomena and personal expression. The selection of artworks highlights various media, including the display of rubbings on stone, calligraphic works on paper and the incorporation of script on ceramics. Additionally, the contemporary art installations serve as carriers of both text and meaning.
This mixed-media display is a sign of our times. As less text is handwritten and digital presentations become more common, it is inspiring to appreciate the artistic qualities that transcend our increasingly rapid modes of communication. The exhibited artworks cause us to pause and reflect, bridging the past, offering a view of the present and suggesting practices that will likely gain more prominence in the future.
We thank the artists for their valuable contributions to this exhibition and express our gratitude to Professor Lee Yun Woon, Professor Li Yui Ching, the Hong Kong Baptist University Library and the Fung Ping Shan Library of HKU for their loans. Our sincere thanks to Dr Lesley Lau, Head of the Art Promotion Office, for her initiation and support of the partner exhibition in the Oil Street Art Space. This exhibition expands the theme displayed at UMAG by featuring additional contemporary artworks and installations. We express our gratitude to the University of Hong Kong Museum Society for its financial support of our exhibition.
Dr Florian Knothe
Director of the University Museum and Art Gallery, The University of Hong Kong (UMAG)
策展理念
Curatorial Statement
碑刻的當代啟迪
碑刻泛指摩崖石刻、石經、碑銘墓誌等，常作紀功、紀事或標記之用。最為人熟悉的是出現在公園、建築物內的紀念碑。
本展覽以「皇帝」相關的墨跡碑刻及拓片為切入點，從中國歷史上首位中央集權王朝的統治者秦始皇帝（前 259—前 210）的紀功刻石《繹山碑》開始，連繫到紀念南宋末代二帝趙昰 (1269—1278) 和趙昺（1272—1279）曾暫居香港的清代重修「宋王臺」 刻石，再到上世紀遊走在香港街頭書寫、人稱「九龍皇帝」曾灶財（1921—2007）的塗鴉作品為探討的主要對象，並附以與歷代帝王相關的碑銘刻石拓片及資料，點出碑刻除紀功標示、保存書法墨跡外，具立名記史的功能。這些「皇帝」相關 的文字墨跡和碑刻記載的功業和事跡，都是透過 在公共空間展示墨跡和鐫刻文字於硬石上，去確立或宣示身份和建構歷史記憶，令其聲名長存萬世，部分再用傳拓技藝將之保存和廣泛流傳。
是次展覽源於我受邀藝術推廣辦事處總監劉鳳霞博士策劃其「古早策展人系列」，最終發展至今成雙展覽的美事，同時在港大和油街實現舉行。港大邀請了七位海內外華人藝術家創作不同媒介的作品，包括李泳麒、李潤桓、梁群嬌、梁藍波、郭孟浩（又稱蛙王）、曹焯焱和楊玉勤，以當代手法回應是次展覽以文字墨跡、碑刻及其拓片建構身份認同和歷史的議題，期望讓觀眾在當下、入流、貼地的藝術創作中，改變對書法傳拓止於作為保存、流傳文字墨跡的紙本複製品的刻板印象，期望擴闊觀眾對傳統書法、碑刻的視野，一同重新認識及思考文字碑刻的古今角色和功能，以新的角度欣賞中國傳統文化藝術。
吳秀華博士
香港大學美術博物館館長
Contemporary Interpretations of Written Inscriptions, Steles and Ink Rubbings
Beike, a term meaning ‘engraved stele’, typically refers to inscriptions on cliffs, stone classics, steles and epitaphs, which are frequently employed for memorials, marking significant occasions and recording achievements and important events.
This exhibition is currently held in two different venues sharing the same theme. It takes as its starting point the hand-written texts, engraved inscriptions and ink rubbings associated with Chinese kings. It begins with the Stele of Mount Yi, which commemorates the achievements of Qin Shi Huang (259 BCE–210 BCE), the first emperor in Chinese history. It then progresses to ‘Sung Wong Toi’, an inscription rock repaired in the Qing dynasty commemorating the temporary residence in Hong Kong of Zhao Shi (1269–1278) and Zhao Bing (1272–1279), the last two kings of the Southern Song dynasty. The exhibition concludes with the work of Tsang Tsou Choi (1921–2007), the ‘King of Kowloon’, who roamed the streets of Hong Kong in the last century. Additionally, the exhibition showcases rubbings of important engraved Chinese kings’ inscriptions so as to explore the functions of engraved steles. These stories about ‘kings’, as recorded in written texts and engraved steles, were all displayed in public spaces, serving as a means for the rulers to proclaim their identities and to construct historical memories, thereby ensuring their enduring reputation. These works have been preserved through ink rubbings, a crucial medium for preserving and disseminating inscriptions.
Focusing on these historical works, the exhibition invites seven artists—both local and overseas—to create artworks in different mediums that respond to the issues of recording history and constructing self-identity in texts, calligraphic inscriptions and ink rubbings. The artists are Lee Wing Ki, Lee Yun Woon, Leung Kwan Kiu, Leong Lampo, Kwok Mang Ho (Frog King), Tso Cheuk Yim and Yeung Yuk Kan. Through the use of both traditional and contemporary mediums, the artists showcase contemporary and timely artworks, while challenging the preconceived notions of traditional inscriptions. The exhibition aims to broaden the audiences’ artistic horizons, encouraging them to contemplate the historical and contemporary functions of beike. Additionally, it seeks to promote the appreciation of traditional Chinese culture and art from a new perspective.
Dr Sarah Ng
Curator of the University Museum and Art Gallery, The University of Hong Kong (UMAG)
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