PAIR (Balance)

搭配 (平衡)

The term PAIR denotes two things that can be similar or complementary. They can be persons, animals or objects, as well as motifs or ornaments. In art, the motif of the pair is used to connect like or unlike elements, to represent sequences in time or space, and to enable serial storytelling.

Symmetry is a crucial element. This can be found in many objects of applied art and as part of ornaments. Works of abstract art are also often based on the idea of balance and equilibrium. The works exhibited here are grouped as pairs and face each other. This creates a balanced three-dimensional space.

The arrangement of the showcases follows Hexagram 49 of the I Ching—gé (革)—which can be translated as change, transformation and metamorphosis.

「搭配」意指湊合兩種性質相似或相互補足的事物。彼此關連的人、動物、物件、圖案紋樣或裝飾皆可以配搭起來。在藝術創作中，以兩種圖案拼湊而成的設計能夠結合類同或相異的元素，共同呈現時間單位或空間的序列，以及表達連串的敘事。

對稱平衡的美感是藝術的關鍵要素。許多工藝品的裝飾營造出對稱平衡的視覺效果。抽象藝術的創作也經常建基於對稱平衡的原則。展廳内相對的作品搭配成對，塑造了平衡的三維空間。

展品的排列形成《易經》第四十九卦——革卦，可以解讀為改革、變革與變化。

All 32 fields may seem unique, but they are only transformations of an original form. In a sense, a reflection of us?

這三十二個圖案似乎是獨一無二，但它們只是從一個原始形象演變出來。從某種意義上來說，這是我們的寫照？

LI Ki Kwok, Victor
(*1951 Hong Kong)

Attractiveness 02
2002
Hanging scroll, diptych, ink on paper
L 199 x W 119.5 cm
HKU.P.2008.1715
Gift of Professor KO W.M. Norman

李其國
（*1951年香港）

《吸引力．零二》
2002年
水墨紙本掛軸雙聯畫
長 199 x 闊119.5厘米

HKU.P.2008.1715
高華文教授惠贈

230920_construction_Panel-01_reduced_120-cm-height_140-cm-width.gif

230920_construction_Panel-02_reduced_120-cm-height_100-cm-width.gif

Is this a patch of forest? Or maybe a memory of a place we once were? Or is it merely a reflection, an illusion, a digital reality?

這是一片森林嗎？抑或是我們回憶裏的地方？它是否只是一個倒影、幻覺、數字現實？

Tobias KLEIN
(*1979 Bonn, Germany)

Déjà Vu
2023
Kinetic installation with two independent pivoting lenticular prints
H 120 x W 140 x D 60 cm / H 120 x W 100 x D 60 cm

Collection of the artist

Tobias KLEIN (簡鳴謙)
（*1979年德國波恩）

《似曾相識》
2023年
配有兩個獨立旋轉光柵印刷製品的動態裝置
高120 x 闊140 x 深 60 厘米 / 高120 x 闊100 x 深 60厘米

由藝術家收藏

Two distinct forms create a perpetual motion that reminds us of the forces of yin and yang.

兩種不同的形象創造了一種永恆的動力，讓我們聯想起陰陽的力量。

Adrian FALKNER
(*1979 Basel, Switzerland)

Untitled (Hong Kong)
2016
Diptych, acrylic on canvas
H 151 x W 122 cm

Collection of the artist

Adrian FALKNER
（*1979年瑞士巴塞爾）

無題（香港）
2016年
丙烯顏料布本雙聯畫
高151 x 闊122厘米

由藝術家收藏

Two halves. The right dark and mysterious; the left a strong accent of red against light grey tones. Balance is created through mutual respect.

兩半。右邊黑暗神秘；左邊的紅色與淺灰色調形成強烈的對比。相互配合創造了平衡。

LEUNG Kui Ting
(*1945 Guangzhou)

A Flower Is Not a Flower
1996–2001
Hanging scroll, ink and colour on paper
L 54 x W 63 cm

HKU.P.2008.1714
Gift of Professor KO W.M. Norman

梁巨廷
（*1945年廣州）

《花非花》

1996–2001年
水墨設色紙本立軸
長54 x 闊63厘米

HKU.P.2008.1714
高華文教授惠贈

Condensing short brushstrokes on the left; several layers of overlapping ink on the right. A complex work. Like two divided cells drifting towards each other.

左邊是短筆觸的凝聚；右邊是多層水墨。意味深遠的作品。就像兩個分裂的細胞流向彼此。

Irene CHOU
(1924 Shanghai–2011 Brisbane)

Abstract Composition
1980s
Vertical scroll, ink and colour on paper
H 138.8 x W 69 cm

HKU.P.1986.1414

周綠雲
（1924年上海–2011年澳洲布里斯本）

《抽象畫》
1980年代
水墨設色紙本直幅
長138.8 x 闊69厘米

HKU.P.1986.1414

Marbled paper meets Rorschach Test. While the right half seems symmetrical along the mirror axis, the left half appears to be flowing into chaos.

大理石紋紙結合羅夏克墨漬測驗。雖然右半部分看似沿著鏡軸形成對稱，但左半部分似乎陷入了混亂。

Robert LETTNER
(1943 Elne, France–2012 Vienna, Austria)
Philipp STADLER
(*1975 Vienna, Austria)

The Water Garden in Neptune’s House / Reflection A5 V2
2017 (2003)
Inkprint on paper
H 150 x W 150 cm

Private collection, Hong Kong

Robert LETTNER
（1943年法國, Elne–2012年奧地利維也納）
Philipp STADLER
（*1975年奧地利維也納）

《海王星之家的水上花園 / 反射A5 V2》
2017年（2003年）
噴墨紙本
高150 x 闊150厘米

香港私人收藏

LETTNER Robert_PS_Spiegelung_A4_V1_2003.jpg

The juxtaposition of symmetry and asymmetry illustrates the fluid boundaries between order and chaos and their mutual interdependence.

對稱與不對稱的並置說明了秩序與混沌之間的流動邊界及兩者的相互依賴。

Robert LETTNER
(1943 Elne, France–2012 Vienna, Austria)
Philipp STADLER
(*1975 Vienna, Austria)

Nature Is Not a Catastrophe / Reflection A4 V1
2017 (2003)
Inkprint on paper
H 150 x W 150 cm

Private collection, Hong Kong

Robert LETTNER
（1943年法國 Elne –2012年奧地利維也納）
Philipp STADLER
（*1975年奧地利維也納）

《自然不是一場災難 / 反射 A4 V1》
2017年（2003年）
噴墨紙本
高150 x 闊150厘米

香港私人收藏

Pair of wooden open-work doors with Daoist immortals
Early 20th century
Wood
Each H 226 x W 49 x D 4.5 cm

HKU.W.2000.1360 a, b

道教仙人鏤空木門一對
20世紀初
木
高226 x 闊49 x 深 4.5 厘米 (每幅)

HKU.W.2000.1360 a, b

Pair of carved wooden panels with flower ornaments
Early 20th century
Wood
Each H 144 x W 92 x D 5 cm

花卉紋窗格一對
20世紀初
木
高226 x 闊49 x 深 4.5 厘米 (每幅)

We can feel the grieving woman’s sorrow. We can also see in her face a sense of gentleness and hope, reflecting an enduring partnership that offers a sense of security and stability during uncertain times.

我們可以感受到這位婦人的悲傷。我們也可以在她的臉上看到溫柔和希望，這顯示恆久的關係在不確定的時期提供了一種安全感和安穩感。

Shirin NESHAT
(*1957 Qazvin, Iran)

Ghada (from the series Our House Is on Fire)
2013
35/50, Digital C-print and ink
H 66 x W 44.5 cm

HKU.Pr.2022.2612
Donation from Robert Rauschenberg Foundation

Shirin NESHAT
（*1957年伊朗加茲溫）

《Ghada》（選自《我們的房子著火了》系列）
2013年
35/50，彩色打印相紙、墨水
高66 x 闊44.5厘米

HKU.Pr.2022.2612
羅伯特・勞森伯格基金會惠贈

We don't know what this man has experienced in his life. In his face we can see sorrow, grief and despair. In her series Our House Is on Fire, the Iranian artist Shirin Neshat portrays people who lost loved ones during the 2013 military coup in Egypt.

我們不知道這個男人的一生經歷過什麼。我們從他的臉上可以看到哀痛、悲傷和絕望。伊朗藝術家Shirin NESHAT 在《我們的房子著火了》系列中描繪了2013年埃及軍事政變中失去親人的人們。

Shirin NESHAT
(*1957 Qazvin, Iran)

Sayed (from the series Our House Is on Fire)
2013
35/50, Digital C-print and ink
H 66 x W 44.5 cm

HKU.Pr.2022.2611
Donation from Robert Rauschenberg Foundation

Shirin NESHAT
（*1957年伊朗加茲溫）

《Sayed》（選自《我們的房子著火了》系列）
2013年
35/50，彩色打印相紙、墨水
高66 x 闊44.5厘米

HKU.Pr.2022.2611
羅伯特・勞森伯格基金會惠贈

At the beginning of a relationship, we are seldom aware that the causes for the ultimate success or failure of the partnership already exist in plain sight. Who made the first move doesn’t really matter.

在一段關係剛開始的時候，這段關係最終成功或失敗的原因其實已經顯而易見，但我們卻很少能夠意識到。誰先採取行動並不重要。

POON Yeuk Fai
(*1963 Fujian)

Green Wine
2009
Oil on canvas
H 183 x W 109 cm

HKU.P.2011.1890

潘躍輝
（*1963年福建）

《青酒》
2009年
油彩布本
高183 x 闊109厘米

HKU.P.2011.1890

Isn't one of the significant challenges in every relationship how to address the needs of the other person?

在每段關係中，重大的挑戰之一不就是如何滿足對方的需求嗎？

SONG Yonghong
(*1966 Hebei)

Elderly Couple
1992
Oil on canvas
H 198 x W 169 cm

HKU.P.1994.1034

宋永紅
（*1966年河北）

《老年夫妻》
1992年
油彩布本
高198 x 闊169厘米

HKU.P.1994.1034

It has been said that ‘The way to a man's heart is through his stomach’. But can cooking permanently replace a lack of affection?

俗語說：「想抓住男人的心，就要先抓住他的胃。」但烹飪能永遠取代感情的缺失嗎？

DUAN Jinwei
(*1961 Xuchang, Henan)

Preparing a Meal
1993
Oil on canvas
H 110 x W 106 cm

HKU.P.1994.1037

段建偉
（*1961年河南許昌）

《做飯》
1993年
油彩布本
高110 x 闊106厘米

HKU.P.1994.1037

Constant sensory overload. Games, virtual worlds, avatars . . . The importance of human contact often only becomes apparent with its failure, or by actually experiencing it in daily life.

感官持續地超出負荷。遊戲、虛擬世界、頭像……與人接觸的重要性往往只有在失敗的時候，或在日常生活中實際經歷時，才會變得明顯。

XIN Haizhou
(*1966 Chengdu, Sichuan)

Computer Game
1993
Oil on canvas
H 180 x W 140 cm

HKU.P.1994.1036

忻海洲
（*1966年四川成都）

《遊戲機的遊戲》
1993年
油彩布本
高180 x 闊140厘米

HKU.P.1994.1036

Showcase 1

Two equal parts that form a single unit.

展櫃一

兩個相等的部分形成單一個體。

Dui (Food Container) with String Design
Warring States period (ca. 475–221 BCE)
Bronze
H 21.7 x W 24.4 x Ø 18.6 cm

HKU.B.1955.0173 a, b

弦紋敦（盛食禮器）
東周、戰國時期（約公元前475年–前256年）
青銅
高21.7 x 闊24.4 x直徑18.6 厘米

HKU.B.1955.0173 a, b

Conjoined Bowls
Neolithic period, Majiayao culture, Banshan phase (ca. 2650–2350 BCE)
Earthenware with pigment
H 8 x W 26.6 cm

HKU.C.1986.0882

雙連碗
新石器時代，馬家窯文化，半山文化類型（約公元前2650–前2350年）
黑彩陶器
高21.7 x 闊24.4 厘米

HKU.C.1986.0882

Showcase 2

Two equal parts that form a single unit.

展櫃二

兩個相等的部分形成單一個體。

Snuff Bottle
Late Qing dynasty (1644–1911)
Burr wood
H 5.8 x W 7.8 x D 1.9 cm

HKU.M.1993.0994.38
Gift of Mr Yeung Tat-che

鼻煙壺
晚清（1644–1911年）
癭木
高5.8 x 闊7.8 x 深 1.9 厘米

HKU.M.1993.0994.38
楊達志先生惠贈

Box with Conjoined Cover
(Carved Cinnabar Lacquer Box and Cover in Conjoined Rhomboid Form)
Qing dynasty, Qianlong period (1736–1795)
Red lacquer, carved decorations
H 17.3 x W 31 x D 23 cm

HKU.L.1971.0457 a, b

剔紅雕漆錦地方勝式蓋盒
清乾隆（1736–1795年）
剔紅
高17.3 x 闊31 x 深 23 厘米

HKU.L.1971.0457 a, b

Showcase 3

28 of UMAG’s collection of 979 Nestorian crosses with motifs of swastikas, birds, floral patterns, radiating beams and Chinese seal-like forms are surrounded by four bronze objects.

展櫃三

這裏展示了香港大學美術博物館所藏的979件景教銅十字的其中28件，由四組青銅器環繞。銅十字上的圖案包括卍字紋、鳥類、花卉圖案及中國印章圖案。

Pair of Chariot Fittings
Spring and Autumn period (770–ca. 475 BCE)
Bronze
H 6.2 x Ø 3.9 cm / H 6.2 x Ø 4 cm

HKU.B.1957.0161 / HKU.B.1954.0188

馬車飾一對
春秋（公元前770年至前475年）
青銅
高6.2 x直徑3.9 厘米 /高6.2 x直徑4 厘米

HKU.B.1957.0161 / HKU.B.1954.0188

Pair of Chariot Fittings
Spring and Autumn period (770–ca. 475 BCE)
Bronze
H 4.6 x Ø 4 cm / H 4.1 x Ø 4.1 cm

HKU.B.1954.0143 / HKU.B.1954.0144

馬車飾一對
春秋（公元前770年至前475年）
青銅
高4.6 x直徑4 厘米 /高4.1 x直徑4.1 厘米
HKU.B.1954.0143 / HKU.B.1954.0144

Pair of Gilt Bronze Hinges
Six Dynasties period (220–589 CE)
Gilt bronze
H 8 x W 4.7 cm / H 8 x W 4.5 cm

HKU.B.1983.0865 a, b

扣飾一對
六朝（220–589年）
青銅鎏金
高8 x 闊4.7 厘米 /高8 x 闊31 厘米

HKU.B.1983.0865 a, b

Pair of Horse Masks
Western Zhou (ca. 11th–771 BCE)
Bronze
H 8.6 x W 10.9 cm / H 8.5 x W 11 cm

HKU.B.1983.0863 a, b

獸面當盧一對
西周（約公元前11世紀–前771年）
青銅
高8.6 x 闊10.9 厘米 /高8.5 x 闊11 厘米

HKU.B.1983.0863 a, b

28 of UMAG’s Collection of 979 Nestorian Crosses
Ordos region, Northwest China
Yuan dynasty (1272–1368)
Bronze
Various dimensions

HKU.B.1961.0243
Gift of Lee Hysan Estate Company
(Formerly FA Nixon Collection)

香港大學美術博物館所藏的979件景教銅十字的其中28件
中國西北部鄂爾多斯地區
元代（1271–1368年）
青銅
尺寸不一

HKU.B.1961.0243
利希慎基金會惠贈
（前為聶克遜藏品）

Showcase 4

Phoenix (female, passive) and dragon (male, active) embody the duality of yin and yang. Together they represent the unity of opposing forces and the striving for harmonious balance in all aspects of life.

展櫃四

鳳凰（雌性、被動）和龍（雄性、主動）體現了陰陽的二元性。它們代表對立力量的結合，以及在生活的各層面對於和諧與平衡的追求。

Bronze Mirror with Painted Decoration of Dragon and Phoenix Designs
Warring States period (ca. 475–221 BCE)
Bronze
H 0.4 x Ø 19 cm

HKU.B.1955.0154
Gift of J Keswick

龍鳳紋彩繪青銅鏡
戰國時代（約公元前475–前221年）
青銅
高0.4 x直徑19 厘米

HKU.B.1955.0154
J. Keswick惠贈

Bronze Mirror with Painted Decoration of Dragon and Phoenix Designs
Han dynasty (206 BCE–220 CE)
Bronze
H 0.4 x Ø 13.3 cm

HKU.B.1954.0117

龍鳳紋青銅鏡
漢代（公元前206–220年）
青銅
高0.4 x直徑13.3 厘米

HKU.B.1954.0117

Bronze Mirror with Dragon Design
Warring States period (ca. 475–221 BCE)
Bronze
H 0.6 x Ø 14.5 cm

HKU.B.1955.0470

四葉蟠螭紋)龍紋青銅鏡
戰國時代（約公元前475–前221年）
青銅
高0.6 x直徑14.5 厘米

HKU.B.1955.0470

Bronze Mirror with Phoenix Design
Tang dynasty (618–906)
Bronze
H 0.5 x Ø 18.3 cm

HKU.B.1954.0128

鳳紋青銅鏡
唐代（618–906年）
青銅
高0.5 x直徑18.3 厘米

HKU.B.1954.0128

Bowl with Two Phoenixes
Jiangxi province, Ji'an
Southern Song (1127–1279)
Stoneware with russet and black glazes, paper-cut designs
H 11.8 x Ø 11.5 cm

HKU.C.1954.0087

鳳紋碗
江西省吉安縣
南宋（1127–1279年）
赤褐釉及黑釉炻器、剪紙花紋
高11.8 x直徑11.5 厘米

HKU.C.1954.0087

Bowl with Two Phoenixes
Ji'an, Jiangxi province
Southern Song (1127–1279)
Stoneware with white-splashed brown and black glazes, paper-cut designs
H 12.1 x Ø 12 cm

HKU.C.1954.0060

鳳紋碗
江西省吉安縣
南宋（1127–1279年）
黑釉白褐斑炻器、剪紙花紋
高12.1 x直徑12 厘米

HKU.C.1954.0060

Cup Stand with Two Phoenixes
Yuan dynasty (1271–1368)
Porcelain with white-green glaze
H 1.2 x Ø 14.5 cm

HKU.C.1989.0950
Gift of Mr and Mrs D. Macintosh

鳳紋盞托
元代（1271–1368年）
青白釉瓷
高1.2 x直徑14.5 厘米

HKU.C.1989.0950
麥競途伉儷惠贈

Pair of Dishes with Dragons and Phoenixes
Ming dynasty, Wanli period (1573–1620)
Jingdezhen, Jiangxi province
Porcelain with underglaze blue and overglaze enamels
Each H 2.2 x Ø 11 cm

HKU.C.1959.0232 a, b

龍鳳紋碟一對
江西省景德鎮
明萬曆（1573–1620年）
青花釉上彩瓷
高2.2 x直徑11 厘米 (每幅)

HKU.C.1959.0232 a, b

Dish with Shou Character (Longevity) and Two Dragons
Jingdezhen, Jiangxi province
Qing dynasty, Kangxi period (1662–1722)
Porcelain with underglaze blue and overglaze enamels
H 4 x Ø 20.5 cm

HKU.C.1982.0823

雲龍「壽」字紋碟
江西省景德鎮
清康熙（1662–1722）
青花釉上彩瓷
高4 x直徑20.5 厘米

HKU.C.1982.0823

Pair of Cups with Dragons
Qing dynasty, Guangxu period (1875–1908)
Porcelain with overglaze enamels
Each H 3 x Ø 5.5 cm

HKU.C.2012.1931 a, b
Gift of Mrs Hui Mok Tak Yu

龍紋杯一對
清光緒（1875–1908）
釉上彩瓷
高3 x直徑5.5 厘米 (每幅)

HKU.C.2012.1931 a, b
許莫德瑜惠贈

Showcase 5

Two animals facing each other symbolises a balanced relationship of forces. This is both a dialogue and a confrontation.

展櫃五

兩隻相向的動物象徵著平衡的力量關係。這既是對話，也是對峙。

Wood Architectural Ornaments with Two Lions
Qing dynasty (1644–1911)
Wood with gilding
H 25 x W 49 x D 13.5 cm

HKU.W.2006.1637 a, b

獅子木刻建築飾件
清代（1644–1911年）
木胎鎏金
高25 x 闊49 x深13.5 厘米

HKU.W.2006.1637 a, b

Gilt Wood Carving with Two Bats
Early 20th century
Wood with gilding
H 16 x W 32 cm

HKU.W.1995.1057.6

雙蝠木雕
20世紀初
木胎鎏金
高16 x 闊32 厘米

HKU.W.1995.1057.6

Gilt Wood Carving with Dragon and Phoenix
Early 20th century
Wood with gilding
H 37 x W 16.5 cm

HKU.W.1995.1057.11

龍鳳木雕
20世紀初
木胎鎏金
高37 x 闊16.5 厘米

HKU.W.1995.1057.11

Gilt Wood Carving with Two Dragons
Early 20th century
Wood with gilding
H 20 x W 41 cm

HKU.W.1995.1057.4

雙龍木雕
20世紀初
木胎鎏金
高20 x 闊41 厘米

HKU.W.1995.1057.4

Gilt Wood Carving with Two Birds
Early 20th century
Wood with gilding
H 16 x W 54 cm

HKU.W.1995.1057.12

雙鳥木雕
20世紀初
木胎鎏金
高16 x 闊54 厘米

HKU.W.1995.1057.12

Gilt Wood Carving with Two Birds
Early 20th century
Wood with gilding
H 14 x W 28 cm

HKU.W.1995.1057.2

雙鳥木雕
20世紀初
木胎鎏金
高14 x 闊28 厘米

HKU.W.1995.1057.2

Showcase 6

Papercuts, the oldest and possibly most popular folk art in China, range from simple motifs cut from a single sheet to compositions made from multiple sheets of coloured paper.

展櫃六

剪紙是中國最古老、最受歡迎的民間藝術之一，有從單一紙張剪成的簡單圖案，亦有以多張彩紙製成的作品。

Palace Lantern with Pairs of Animals (Ducks, Cranes and Dragons)
20th century
Paper, single colour
H 25 x W 16 cm

HKU.Pc.1976.2477.1160

相相對對喜慶皇宮燈籠
20世紀
單色剪紙
高25 x 闊16 厘米

HKU.Pc.1976.2477.1160

Palace Lantern with Double Happiness Motif for Marriage, a Pair of Fish and a Crane
20th century
Paper, single colour
H 24 x W 15 cm

HKU.Pc.1976.2477.1158

「囍」字皇宮燈籠
20世紀
單色剪紙
高24 x 闊15 厘米

HKU.Pc.1976.2477.1158

Baiyun Mountain from a Series of Papercuts of Guangzhou Scenery
Yuhuan, Zhejiang province
20th century
Paper, single colour, Yinyangke technique
H 18 x 24 W cm

HKU.Pc.1976.2477.233

白雲山（選自廣州風景剪紙系列）
浙江省玉環市
20世紀
陰陽刻單色剪紙
高18 x 闊24 厘米

HKU.Pc.1976.2477.233

Papercut of a Chinese Garden Pavilion in Wuxi
Yuhuan, Zhejiang province
20th century
Paper, single colour, Yinyangke technique
H 18 x W 18 cm

HKU.Pc.1976.2477.154

無錫中式庭園風景
浙江省玉環市
20世紀
陰陽刻單色剪紙
高18 x 闊18 厘米

HKU.Pc.1976.2477.154

Papercut of Spring with Pond and Goldfish in Wuxi
Yuhuan, Zhejiang province
20th century
Paper, single colour, Yinyangke technique
H 18 x W 23 cm

HKU.Pc.1976.2477.157

無錫天下第二泉風景
浙江省玉環市
20世紀
陰陽刻單色剪紙
高18 x 闊23 厘米

HKU.Pc.1976.2477.157

Papercut with Symmetrical Butterfly Pattern
Yueqing, Zhejiang province
20th century
Paper
H 13 x W 18 cm

HKU.Pc.1976.2477.804

蝴蝶
浙江省樂清市
20世紀
剪紙
高13 x 闊18 厘米

HKU.Pc.1976.2477.804

Papercut with Symmetrical Flower Pattern
Yueqing, Zhejiang province
20th century
Paper
H 14 x W 20 cm

HKU.Pc.1976.2477.803

花卉
浙江省樂清市
20世紀
剪紙
高14 x 闊20 厘米

HKU.Pc.1976.2477.803

Papercut with Symmetrical Flower Blossom Pattern
Yueqing, Zhejiang province
20th century
Paper
H 12 x W 18 cm

HKU.Pc.1976.2477.802

盛開花卉
浙江省樂清市
20世紀
剪紙
高12 x 闊18 厘米

HKU.Pc.1976.2477.802

Showcase 7

Papercuts often contain symmetrical motifs created through multiple folds. The UMAG collection contains more than 1,600 papercuts.

展櫃七

剪紙藝術大多呈現透過多次折疊創作而成的對稱圖案。香港大學美術博物館藏有超過1600件剪紙作品。

Papercut with Crane and Palm Tree Pattern
Yangzhou, Jiangsu province
20th century
Paper
H 12 x W 11 cm

HKU.Pc.1976.2477.577

鶴和棕櫚樹
江蘇省揚州市
20世紀
剪紙
高12 x 闊11 厘米

HKU.Pc.1976.2477.577

Papercut with Flower Blossom Pattern
Yangzhou, Jiangsu province
20th century
Paper
H 12 x W 11 cm

HKU.Pc.1976.2477.575

盛開花卉
江蘇省揚州市
20世紀
剪紙
高12 x 闊11 厘米

HKU.Pc.1976.2477.575

Papercut with Symmetrical Pattern of Goldfish and Blooming Flowers
Yangzhou, Jiangsu province
20th century
Paper
H 12 x W 11 cm

HKU.Pc.1976.2477.572

金魚和花卉
江蘇省揚州市
20世紀
剪紙
高12 x 闊11 厘米

HKU.Pc.1976.2477.572

Papercut with a Rose and Pair of Butterflies
Yangzhou, Jiangsu province
20th century
Paper
H 12 x W 11 cm

HKU.Pc.1976.2477.576

玫瑰和蝴蝶
江蘇省揚州市
20世紀
剪紙
高12 x 闊11 厘米

HKU.Pc.1976.2477.576

Pair of Tibetan Dancers
Yangzhou, Jiangsu province
20th century
Paper, single colour, Yinyangke technique
H 17 x W 11 cm

HKU.Pc.1976.2477.58

藏族男女雙人舞
江蘇省揚州市
20世紀
陰陽刻單色剪紙
高17 x 闊11 厘米

HKU.Pc.1976.2477.58

Two Female Dancers of the Yi Ethnic Group Performing a Fan Dance (Shanwu)
Yangzhou, Jiangsu province
20th century
Paper, single colour, Yinyangke technique
H 17 x W 12 cm

HKU.Pc.1976.2477.59

彝族女子雙人扇舞
江蘇省揚州市
20世紀
陰陽刻單色剪紙
高17 x 闊12 厘米

HKU.Pc.1976.2477.59

Two Chao Xian Dancers in Chanqun Dress
Yangzhou, Jiangsu province
20th century
Paper, single colour, Yinyangke technique
H 16 x W 12 cm

HKU.Pc.1976.2477.55

朝鮮族女子雙人舞
江蘇省揚州市
20世紀
陰陽刻單色剪紙
高16 x 闊12 厘米

HKU.Pc.1976.2477.55

Papercut with Beijing Opera Mask of Zhu Bajie, a Character from Journey to the West
Tianjin
20th century
Paper, multi-coloured papercuts painted with a brush (dianse jianzhi)
H 14 x W 9 cm

HKU.Pc.1976.2477.32

豬八戒京劇臉譜
天津
20世紀
多彩點色剪紙
高14 x 闊9 厘米

HKU.Pc.1976.2477.32

Papercut with Beijing Opera Mask of Shoulao, God of Longevity
Tianjin
20th century
Paper, multi-coloured papercuts painted with a brush (dianse jianzhi)
H 14 x W 9 cm

HKU.Pc.1976.2477.34

壽老京劇臉譜
天津
20世紀
多彩點色剪紙
高14 x 闊9 厘米

HKU.Pc.1976.2477.34

Papercut with Beijing Opera Mask of Sha Wujing, a Character from Journey to the West
Tianjin
20th century
Paper, multi-coloured papercuts painted with a brush (dianse jianzhi)
H 14 x W 9 cm

HKU.Pc.1976.2477.40

沙悟淨京劇臉譜
天津
20世紀
多彩點色剪紙
高14 x 闊9 厘米

HKU.Pc.1976.2477.40

Papercut with Two Goldfish and Flowers
20th century
Paper, multi-coloured papercuts painted with a brush (dianse jianzhi)
H 22 x W 15 cm

HKU.Pc.1976.2477.1154

金魚和花卉
20世紀
多彩點色剪紙
高22 x 闊15 厘米

HKU.Pc.1976.2477.1154

Papercut with Two Goldfish and Flowers
20th century
Paper, multi-coloured papercuts painted with a brush (dianse jianzhi)
H 22 x W 15 cm

HKU.Pc.1976.2477.1155

金魚和花卉
20世紀
多彩點色剪紙
高22 x 闊15 厘米

HKU.Pc.1976.2477.1155

Showcase 8

Whether guards, servants or bodhisattvas, figures made of terracotta or earthenware often appear in pairs. Some of them look like a mirrored duplication, while others display variations in facial expression or posture. These subtle imperfections make the figures relatable.

展櫃八

不論陶俑的身分是侍衛、僕人或菩薩，它們大多成對出現。其中一些看似是精確的複製品，而另一些則表現出面部表情或姿勢的變化。這些微妙的細節使這些人物俑具有相關性。