香港大學美術博物館

This catalogue is published on the occasion of Asia Society Hong Kong Center’s eponymous exhibition, Song of Spring: Pan Yu-Lin in Paris, from September 12, 2018 to January 6, 2019, the second instalment in ASHK’s 20th Century Female Artist Series. The book includes a catalogue of all exhibited artworks, as well as four new essays that shed light on the life and artistic trajectory of Pan Yu-Lin, the significance of Chinese expatriate artists in modern Chinese art history, and speaks to the greater history of Chinese female emancipation. 本書為亞洲協會香港中心籌劃香港賽馬會呈獻的《春之歌：潘玉良在巴黎》印製，展覽從2018年9月12日至2019年1月6日舉辦，是亞洲協會香港中心「二十世紀中國女藝術家系列」的第二個展覽。這本書包括展覽所有作品的圖錄，以及四篇新撰文章研究潘玉良的人生及藝術演變、中國留歐藝術家對中國現代藝術史發展的重要性以及女藝術家在中國女性解放進程中的角色。

The University Museum and Art Gallery (UMAG) of the University of Hong Kong presents the Chinese painting exhibition Tradition to Contemporary: Ink Painting and Artistic Development in 20th-century China. The exhibition is curated from artworks within the museum’s permanent collection. Works trace the evolution of ink painting in Hong Kong, and include many of the masters that have helped to build the city’s art scene and museum collections. The exhibition and its associated catalogue offers audiences a broad overview of the provenance and aesthetic quality of individual works, and the cultural interactions among twentieth-century Chinese artists, curators, collectors and scholars in Hong Kong, mainland China and abroad. 香港大學美術博物館展出中國繪畫展覽《鑑古賞今：二十世紀中國的水墨與藝術發展》。是次展覽展示博物館的永久館藏。作品追溯了香港本土水墨畫的演變，當中包括多位協助建立起城市藝術風采和博物館藏品的大師。是次展覽和出版的圖錄讓觀眾綜覽個別繪畫作品的來源和美學特質，並香港、中國內地及海外的二十世紀中國藝術家、策展人、收藏家及學者之間的文化交流。

Ikat Textiles of the Indonesian Archipelago offers a comprehensive overview of the profusion of ikat styles found across Indonesia, and is the first detailed reference book on the subject. Assessing Peter ten Hoopen’s Pusaka Collection from a scholarly point of view, it is worth acknowledging how it illustrates the concept of ‘unity in diversity’, which the young state of Indonesia chose as its motto upon independence. Here, the interwoven-ness of styles from neighbouring island regions matter, as do their marked individuality and idiosyncrasies. Moreover, it allows for the study not just of the people’s finery, but of their everyday clothing. An ironic illustration of the effect of this collecting method comes from Ili Mandiri on Flores. As its dark red bridewealth sarongs have been prized and venerated by the local population, this is what most sophisticated collections have aimed to obtain. The simple but lovely indigo sarongs for everyday use have been almost entirely ignored by co

Published in conjunction with three Robert Lettner (1943–2012) exhibitions staged across Hong Kong in 2017, this volume surveys artworks from the Austrian artist’s long career from the 1960s until his

The University Museum and Art Gallery (UMAG) of the University of Hong Kong presents the Chinese painting exhibition Tradition to Contemporary: Ink Painting and Artistic Development in 20th-century China. The exhibition is curated from artworks within the museum’s permanent collection. Works trace the evolution of ink painting in Hong Kong, and include many of the masters that have helped to build the city’s art scene and museum collections. The exhibition and its associated catalogue offers audiences a broad overview of the provenance and aesthetic quality of individual works, and the cultural interactions among twentieth-century Chinese artists, curators, collectors and scholars in Hong Kong, mainland China and abroad. It makes reference to individuals and their networks, to teacher-student relationships and to the generosity of the numerous painters who have helped UMAG to grow the museum’s holdings, and whose work constitutes the foundation of UMAG’s educational work today. Since

This publication accompanies an unprecedented exhibition highlighting four of the magnificent chinoiserie tapestries of Chinese Emperor Qianlong, woven after designs by François Boucher at the famous Beauvais manufactory from 1758–1760. The large and well-preserved textiles form part of the royal French commission by King Louis XV, objects of which were presented to Qianlong in 1766. These celebrated tapestries are joined by another historic set of culturally related depictions in print—The Battles of the Emperor of China. The engravings were ordered by Qianlong, drawn by Jesuit painters at the Imperial Court in Beijing and then printed in Paris 1769–1774. The ‘culture’ of these prints follows King Louis XIV’s influential images of the Histoire du Roi and presents Qianlong as both a war hero and as the undisputed leader of China in the mid-eighteenth century. These depictions date to the exact same time period, one that coincides with the high demand for chinoiserie in France—culmina