Page 212 - Modern Chinese Paintings, Hk Nov. 27,2017

INHERITING, TRANSCENDING, MODERNISING

ARTISTS OF HONG KONG

藝聚香江

(L-R) Chiu Sai Kwong, The curriculum introduction and application form for the Lingnan Art

Yang Shanshen, Zhao Studio in Hong Kong after its re-establishment in 1948 when Zhao

Shao’ang, Wu Yuji Shao’ang moved to Hong Kong.
左起：趙世光、楊善深、趙 趙少昂於一九四八年移居香港，開設嶺南藝苑。圖為香港嶺南藝苑課程報
少昂、胡宇基。於一九六一 名表。
年合照。

From a small port to the booming metropolis, Hong Kong has 香港由一個小漁港發展成現今國際知名的大都會，期間經歷了各
weathered many storms and endured through some difficult times 種不同的磨練。其藝術發展亦然。香港位處中西文化融匯之地，
throughout the 20th century. 既擁有中國傳統藝術，又接受西方文化藝術的洗禮，孕育出一個
獨特多元的環境給予藝術家開拓出多元化的風格。
Many “Hong Kong artists” of the 1940s to 1960s belonged to the
generation of Chinese who were born inside mainland China, 早在20世紀早期，礙於中國內憂外患，不少廣東的藝術家逃避戰
whose lives were interrupted by a decade of war, and who, during 亂而南遷香港，而當中有部分更留港定居。其中較為重要的有
the agony and confusion of political changes, sought refuge in Hong 國畫研究會成員黃般若（1901-1968）、鄧芬（1894-1964）、
Kong, consequently settling down permanently by the end of the 李研山（1898-1961）等。嶺南畫派的則以第二代傳人，「天風
1940s. Their life experiences, coupled with the many challenges 七子」的趙少昂（1905-1998）、何漆園（1899-1970）、容潄
facing the city enabled the artists to express and interpret art in 石（1903-1996）、周一峰（1890-1982）和與高劍父（1879-
their unique way. 1951）亦師亦友的楊善深（1913-2004）稍後來港。他們相繼創
辦藝術學校，較著名的有鮑少遊（1892-1985）1928年所創辦的
Prominent artists from the 1940s included leading members of “麗精美術學校”和趙少昂1948年移居香港後復設的“嶺南藝
the Guangdong National Painting Research Society, Huang Bore 苑”，在香港開枝散葉，為教育做出貢獻。
(1901-1968), Deng Fen (1894-1964), Li Yanshan (1898-1961) etc.
Also, active in the art scene were second generation artists from 在五十年代，香港藝術活動亦變得更加活躍。各式各樣的藝術
the Lingnan school of painting, at the time named the “Seven 團體開始冒起，如鮑少遊、黃般若、趙少昂、楊善深、李鳳
Apprentices of Gao Qifeng (1889-1933)”, such as Zhao Shao’ang 公（1884-1967）、李研山、林建同（1911-1994）、呂燦銘
(1905-1998), He Qiyuan (1899-1970), Rong Shushi (1903-1996), （1892-1963）等1956年成立的“丙申社”。這些組織更會定期
Zhou Yifeng (1890-1982) and Yang Shanshen (1913-2004), a 舉辦展覽，譬如李研山、黃般若、趙少昂、楊善深、李錫彭、丁
follower of Gao Jianfu (1879-1951). Many of these artists set up their 衍庸（1902-1978）、呂壽琨（1919-1975）1957年所舉辦之香港
own schools in Hong Kong, such as Bao Shaoyou’s (1892-1985) Lai 七人畫會展覽；趙少昂、林建同、周千秋（1910-2006）、梁粲
Ching Art Institute, founded in 1928, and Zhao Shao’ang’s Lingnan 纓（1921-2005）、何漆園、鮑少游、周一峰、呂燦銘、張韶石
Art Studio in 1948. These artists aimed to preserve and propagate
the traditions of Chinese painting.

Post-war Hong Kong in the 1950s saw more artists settling in Hong
Kong, with their experiences in China giving them sufficient years
to be steeped in Chinese tradition, yet young enough to accept

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