Date: Saturday, 21 September 2019 
Time: 11:00 – 12:30
Venue: 1/F, Fung Ping Shan Building, University Museum and Art Gallery, HKU
Language: English
Cost: Free admission. All are welcome. Please click here to register.
Co-organisers: University Museum and Art Gallery, HKU and The University of Hong Kong Museum Society
Enquiries: Chung Yan Chan at officeadmin@hkums.com or 2241-5507

The University Museum and Art Gallery and the HKU Museum Society are pleased to present a guided viewing and talk of two exhibitions supported by the Museum Society – Living Kogei: Contemporary Japanese Craft from the Ise Collection and Clouds of Ink, Pools of Colour: Paintings by Hou Beiren.
Guided Viewing – Living Kogei: Contemporary Japanese Craft from the Ise Collection

The modern Japanese term for artisan crafts, kogei, refers to a form of highly skilled artistic expression associated with specific regions in Japan. Kogei typically include ceramics, textiles, lacquer, metalwork, glass and wood, and have at their core a concern for fine craftsmanship and the inherent qualities of materials. Informed by centuries of tradition, these crafts have been revitalized and expanded in recent years, with emerging avant-garde tendencies in fields like bamboo sculpture and studio glass competing with established practices and values embedded in Japanese culture. Drawn from the Ise Collection,Living Kogei highlights eighty works by contemporary Japanese craftsmen, ranging from rustic ceramics with asymmetrical forms to abstract glasswork with elegant silhouettes and sensuous colours. Each demonstrates how contemporary artisans appreciate and continue the long tradition of Japanese craft, while at the same time departing from convention in search of the new. 

Talk – Hou Beiren and Splashed Ink – A Sideways Look

The Chinese ink painter Hou Beiren has lived and worked in northern California for the last sixty years. Clouds of Ink, Pools of Colour: Paintings by Hou Beiren is the first exhibition of his splashed ink landscape paintings in Hong Kong.  Splashed ink painting can be traced to the Tang (618–907) and Southern Song (1127–1279) dynasties. After the fourteenth century, with changes in artistic taste, literati brushwork and painting dominated. But splashed ink remained popular in Japan, in ink wash painting of the Muromachi Period (1333–1578), before experiencing a revival at the hands of Zhang Daqian (1899–1983) in the mid-twentieth century.

The brief illustrated gallery presentation will consider in outline the history and techniques of splashed ink painting in relation to concepts of spontaneity, action and the unconscious in art; as well as correlations between Zen Buddhist ideas of transformation and splashed ink painting.

Resource Persons

Benjamin Chiesa
Benjamin Chiesa is the Assistant Curator at the UMAG. He was previously Assistant Curator of Cross-cultural Art at the Asian Civilisations Museum, Singapore. His research focuses on hybridity and artistic exchange between China, Japan and Europe in the eighteenth and nineteenth centuries, with a particular focus on ceramics and silverware made for export to the West. His publications includeObjectifying China: Ming and Qing Dynasty Ceramics and Their Stylistic Influences Abroad, Auspicious Designs: Batik for Peranakan Altars and Devotion and Desire: Cross-cultural Art in Asia.

Dr Kevin McLoughlin
We are pleased to introduce Dr. Kevin McLoughlin, the new Curator at the UMAG. He has previously been Interim Curator of Asian Art at the University of Chicago’s Smart Museum of Art (2017); Lecturer in the Arts of China postgraduate course at Christie’s Education London (2016); Principal Curator for East & Central Asia at the National Museum of Scotland in Edinburgh (2009-2015); Deputy Curator of University Museums at Durham University (2004-2009); Assistant Curator at the Barlow Collection at the University of Sussex (2000-2004), and before that East Asian Collections research assistant at the Chester Beatty Library, Dublin (1997-2000). 
Kevin holds a PhD in History of Art from the University of Sussex; an MA in Chinese Art & Archaeology from the University of Durham; and a BA (Hons) Fine Art from the National College of Art and Design, Dublin; and has also studied at Beijing Language and Culture University. He is also an Honorary Research Fellow of the University of Glasgow; an Honorary Advisor to National Trust Scotland; and a member of the advisory board of the Chinese Art Research Network at the University of Glasgow. 
While at the National Museum of Scotland, Kevin curated the successful Ming: The Golden Empire(2014) exhibition and authored the associated catalogue. He also built up one of the largest and most significant mixed media collections of the New China and Cultural Revolution period within UK museums. His research interests focus mainly on late imperial Chinese print culture, the visual culture of China’s Cultural Revolution era, Chinese Buddhist art, Tibetan and Himalayan art history, and Korean art history, as well as the history of interpretation of East Asian visual and material culture in the museum environment. He has published on various aspects of Chinese print culture, as well as the visual culture of the Cultural Revolution era, and Korean collections histories. He is currently co-editing a book on eighteenth century Suzhou print culture.

Images: Summer Solstice, Shimpei Matsuzaki (b. 1981), Tokyo, 2017, Lacquer and mother-of-pearl, 9.5 x 18 x 9.5 cm.Image courtesy of the Ise Collection; Elegant Gathering on a Spring Mountain, 2002, Ink and watercolour on paper 76 x 141 cm.© Collection of the Hou Beiren Art Museum

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