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  • 香港印象 Hong Kong Impressions

香港印象 Hong Kong Impressions

Edited by Pedith Pui Chan, Josh Yiu


English, Chinese , 2020/09 Art Museum, CUHK

210 x 280 x 12 mm , 200pp ISBN : 978-988-19493-3-2

  • US$35.00


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Cultural conventions shaped landscape preferences, perception of landscape, and what historical and cultural meanings and values were attached to particular landscapes. "Hong Kong Impressions" features works of art that were created based on specific sites in Hong Kong, offering us an entry point from which to understand the complex relationships between landscape aesthetics, modern tourism, and the visual representations of the Hong Kong landscapes. The artists included in the exhibition were landscape tourists who conducted extensive tours all over Hong Kong and visualised their travel experiences and perceptions of Hong Kong in pictorial forms. In the post-war period, the rise of site-specific paintings with themes on Hong Kong landscapes reveals a connection between a growing interest in plein air sketching and a rapid development of modern tourism in Hong Kong. From a place with "little to do" to a popular tourist destination, the development of tourism in Hong Kong demonstrates how a specific ideology and landscape perception can become imbued in the travel discourse over time. In the pre-war period, Hong Kong's tourist attractions were selected and constructed through an Oriental lens, aiming to emphasise the contribution of the British government in transforming Hong Kong from the 'barren hill' into the 'Pearl of the Orient' and frame the city as modern yet traditional, Western yet Chinese. After the wars, the contributions of the Chinese cultural elites to the discourse of tourism added a nationalistic perspective to ways of looking at Hong Kong scenery, expanding the list of scenic attractions of Hong Kong and shifting the focus of scenic attractions from the Hong Kong Island to the New Territories. As such, Chinese landscape aesthetic helped to develop a particular landscape sensibility towards the Hong Kong picturesque landscapes. In the process, some attractions were privileged and became the symbolic signs of Hong Kong, becoming popular subjects in site-specific paintings. From the selection of scenic spots and artistic styles, to specific vantage points from which to view and frame the scenic sites, the paintings in the present exhibition advance our understanding of how artists contemplated and imagined Hong Kong, bringing us a new way of seeing and experiencing the Hong Kong landscapes through an artistic lens.

文化傳統塑造景觀的感知,山水的品味,以及賦予特定名勝歷史和文化意涵與價值。「香港印象」展出以香港實景為主題的藝術作品,為我們了解山水美學、現代旅遊與香港風景的視覺呈現之間的種種複雜關係提供一個切入點。展覽包括的藝術家都是曾經遊覽香港不同地方的風景旅客,以繪畫呈現旅遊經歷和對香港勝景的觀感。戰後,以香港風景為主題的實景山水畫蔚然成風,揭示了藝術家對戶外寫生的興趣與日俱增,以及與現代旅遊在香港急速發展之間的密切關聯。香港由「沒有甚麼可以做」的地方演變為著名旅遊勝地,其旅遊發展表明了個別意識形態與景觀論述如何隨着時間推移滲入旅遊論述中。事實上,戰前香港的旅遊名勝均以東方主義的角度挑選和建構出來,旨在強調英國政府把香港從「荒山野嶺」發展成「東方之珠」過程中的貢獻,同時將香港設計成既現代又傳統、既西化又中式的城市。然而,抗戰和內戰之後,中國文化菁英南來並參與建構香港旅遊論述,為觀看香港風景的方式添上家國情懷,開拓香港的風景名勝,也將焦點由集中於香港本島的景點轉移到新界。因此,中國山水美學的注入發展出欣賞香港的特有山水感知。過程中某些景點尤受青睞,成為香港的象徵符號,繼而成為實景山水的常見題材。由挑選風景名勝和藝術風格,到勝景的觀賞角度和名勝的描繪,是次展覽的畫作提供另一角度讓我們理解藝術家如何思考和想像香港,並透過藝術家的角度引領我們以新的方式欣賞和體驗香港山水。

Prof. Pedith Chan is a senior lecturer in Asian arts and cultures at the School of Oriental and African Studies, University of London. She received her PhD in Art and Archaeology from SOAS, University of London. Before joining SOAS Chan was an assistant professor at the Chinese University of Hong Kong. Her research interests focus on the production and consumption of art and cultural heritage in modern and contemporary China. Recent publications include The Making of a Modern Art World: Institutionalisation and Legitimisation of Guohua in Republican Shanghai (Leiden: Brill, 2017), Learning from Nature: Modern Tourism and Site-Specific Landscape Painting” (National Palace Museum, Taipei, 2020), and “In Search of the Southeast: Tourism, Nationalism, Scenic Landscape in Republican China,” (Twentieth-Century China, 2018). She is currently researching the making of scenic sites in modern China.

陳蓓教授現為倫敦大學亞非學院副教授。她於倫敦大學亞非學院獲藝術與考古博士學位。她曾於香港中文大學擔任助理教授。她的研究興趣涵蓋近代、當代藝術文化生產及消費。近期的著作包括 The Making of a Modern Art World: Institutionalisation and Legitimisation of Guohua in Republican Shanghai(萊登博睿學術出版社,2017年)、《造化為師—現代旅遊與實景山水》(國立故宮博物館出版,2020年),以及 In Search of the Southeast: Tourism, Nationalism, Scenic Landscape in Republican China(《二十世紀中國》,2018年)。現正進行研究近代中國名勝的建構與視覺呈現。  


Prof. Josh Yiu is the Director of the Art Museum, The Chinese University of Hong Kong.  He received his B.A. in Art History from the University of Chicago, and completed his doctorate at Oxford University. From 2006 to 2013, he served as the Foster Foundation Curator of Chinese Art at the Seattle Art Museum. At CUHK, he has supervised over thirty special exhibitions, acquired over 400 artworks, digitized the collection, launched online education programs, and initiated the museum expansion project. A scholar in late imperial and modern Chinese art with over twenty publications in books and articles, he also serves as an advisor to the Hong Kong Arts Development Council and international consultant to the National Art Museum of China.

姚進莊教授現任香港中文大學文物館館長。他在芝加哥大學取得藝術史學士學位後,於牛津大學獲博士學位。由2006至2013年,他在西雅圖博物館任中國藝術部主任。他至今於香港中文大學文物館已策劃超過30個專題展覽及增添400多件藏品,同時亦推動多個推廣及發展項目,如館藏數碼化計劃、多元教育活動及文物館擴建計劃。作為一位研究明清至近現代中國藝術的學者,他編寫超過20篇專書及論文著作。姚館長兼任香港藝術發展局藝術顧問,以及中國美術館國際顧問。

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