香港大學美術博物館

This volume presents the artistic work of Chun Wai created in France in the 1980s-1990s. Like the exhibition Adrift in Time―Photography by Chun Wai at the University Museum and Art Gallery, The University of Hong Kong, the publication has documentary value as a photographic record of the past and the passing of time.This physical and philosophical journey caused the artist to realize that his insights into the relationship suspended between predestination and chance were leading to an expansive form of loneliness―a state he felt was similar to the torment experienced by the ancient Chinese poets. Chun wandered the streets and alleys of great cultural centres like Paris discovering the collections of its great museums, art galleries and flea markets, along with the vast memories contained within, preserved and passed on through the course of time.此展覽目錄為秦偉 1990 年代於法國的藝術創作之結集，圖片記載著作者對過去及已流逝的時間的回溯，具有文本價值。透過這趟旅程，秦偉深悟人生乃在宿命與偶遇之間，頓感中國古代詩人飄泊孤寂之感。他遊走於文化之都 ― 巴黎，穿梭於街巷、博物館、美術館和跳蚤市場，浪遊於浩瀚的記憶和時間的長河。

High Gothic: Christian Art & Iconography of the 13th–14th Century showcases classic examples of statuary, stained glass, diptychs, textiles and caskets that were used in the expression of Christian devotion in Western Europe.‘Gothic’ was originally a derogatory term coined by scholars during the Renaissance to describe the ‘barbaric’ medieval architecture that arose with the decline of the classical forms of the Roman Empire. The word is now understood to describe a style of buildings and objects created between the twelfth and fifteenth centuries which incorporate elements such as novel advances in masonry work and the characteristic ogival arch.The Gothic period saw an increased emphasis on the power of images, where vision became an active force for activating emotion and inspiring contemplation. The great cathedrals constructed in this period―with their thin walls and high vaults filled with statuary and stained-glass windows―were designed to evoke awe among visitors. The exqui

Reverse paintings on glass occupy a special place in Chinese art, spanning the genres of glass working, export art, folk art, erotica, and meiren hua (paintings of beauties). Their unique appearance is the result of a challenging production process in which artists layer pigments in the reverse order of the normal painting procedure–highlights first, then mid-layers, and finally base colours. The final product is viewed in reverse from the opposite side of the glass, which must also be considered when creating the paintings. A product of the encounter between East and West, the manufacture of glass paintings in China was stimulated by European glass paintings brought to the imperial court by traders and diplomats in the seventeenth century. Initially made in Canton for Western consumers, by the eighteenth century their production had spread throughout China, with subjects and styles adapted to suit local tastes. The glass paintings in the Mei Lin Collection represent this later floweri

野田哲也的成長階段正值日本戰後意識形態、社會、經濟和藝術經歷劇變的時代，受此影響，他在1960年代開始創作版畫日記，記錄其日常生活，憑著精湛的技術、以寫實精巧的形態把現實呈現出來。野田氏的藝術造詣深厚，作品主題與自身密切相關。他的創作以承前啟後聞名，糅合攝影、傳統日本木刻版畫、油印和絲網印刷技術，自創嚴謹精細的層疊式技術，在代表日本淵遠悠長的版畫傳統的同時，進一步開創這項由來已久的藝術。隨之而成的是將傳統木版畫和當代油印－絲網印刷結合的罕見技術。是次出版的作品有助讀者深入了解這位藝術家非凡手藝和色彩搭配，以及其情感豐富和謙和不矜的個性。甚少版畫家在技術方面會如此探奧索隱，亦鮮有在選題上如此明確。野田氏是當今日本藝壇最傑出的藝術家之一，「野田哲也的日本當代版畫日記」代表其對這項歷久彌新的藝術形式所長期積累的豐富知識及經驗，同時以真實的日記方式記錄每一件塑造其生活的事件，亦象徵野田氏同代人的集體經歷和見證過去幾十年的社會變遷。野田哲也對藝術的貢獻和創新──尤其是在版畫領域──享負盛名，更於2015年被日本天皇授予瑞寶中綬章。野田氏至今仍在積極創作，在他五十多年的藝術生涯中，他保持著一以貫之的視野和大膽結合多元技術的創新。野田氏在1940年出生於熊本縣，從小就培養了對攝影的興趣。後來他把這份興趣融入了他著名的版畫技術當中。在東京藝術大學求學期間，他首先專攻繪畫，但很快便感到受繪畫──尤其是在西洋繪畫傳統中的模仿過程和元素所束縛。為了尋找一種最真實、最能展示個人視野的表達方式，他轉投版畫創作，並以個人的日常生活為主題。

Influenced by his upbringing in post-war Japan, and the ideological, social, economic and artistic transformations of the era, Noda Tetsuya started to build a diary of prints in the 1960s, recording his daily life and mastering the challenge of documenting the reality around him in both true and artistic fashion. Works presented in this publication offer unparalleled insights into the artist’s hand skills and color palette, as well as his intense personal feelings and trademark humility. Few printmakers are quite as exploratory in terms of their technique and so precise in their choice of depicted subjects. Noda Tetsuya’s Diary of Contemporary Japanese Prints represents the long-accumulated knowledge of a well-practiced artform by one of Japan’s bestestablished artists, while also documenting—in true diary fashion—events that have shaped his personal life, while also standing for the collective experience of Noda’s generation and the societal change witnessed over the last several de