Page 213 - Modern Chinese Paintings, Hk Nov. 27,2017

Zhao Shao’ang and his students in Fanling for outdoor Joint Exhibition of five artists in memory Joint exhibition with members of the Hong Kong Art

sketching, 1950’s. of their teacher Gao Qifeng at St. John’s Association of Seven Artists in St. John’s Cathedral, Hong
趙少昂與嶺南藝苑學生到戶外寫生。圖拍攝於1950年代粉嶺。
Cathedral in Hong Kong in July 1955 Kong, March 1957
周一峰、葉少秉、何漆園、容漱石、趙 一九五七年三月，李研山、黃般若、楊善深、李錫彤、丁衍庸、
少昂于一九五五年七月在香港聖約翰堂 呂壽琨組成的香港七人畫會在聖約翰教堂舉行國畫西畫展。左
舉辦五人聯展以紀念恩師高奇峰誕辰。 起：李錫彭、黃般若、丁衍庸、趙少昂、楊善深、呂壽琨。

outside influences in search of new direction. Art societies began to （1913-1991）、容潄石、呂壽琨1959年在聖約翰座堂舉行的丙
form, such as the “Bing Shen” society in 1956, which hosted and 申社社員作品聯展。
organised many exhibitions, in particular, joint exhibitions at St.
John’s Cathedral in 1959. 隨著藝術團體和展覽日漸普及，香港公營藝術機構和大專院校亦
對香港藝術發展提供重大貢獻。香港藝術館前身，香港博物美術
As art societies and exhibitions became more commonplace, 館於1962年創立，座落於香港大會堂高座，是香港最重要的藝術
governmental organisations and universities began to establish 展覽場地。張大千（1899-1983）成為首次國畫展覽的藝術家，
dedicated art schools and museums.The Hong Kong Gallery of Art 展出一百幅作品。大專院校如香港中文大學開設藝術系與及校外
(then at the Hong Kong City Hall) was established in 1962, with 進修部繪畫課程，並聘請呂壽琨、丁衍庸（1902-1978）、蕭立
Zhang Daqian (1899-1983) being the first artist to exhibit there 聲（1919-1983）等為講師。
with over 100 works. Many of these Hong Kong artists dictated the
direction and taste of collectors and museums, with Lui Shou Kwan 隨著上述畫家在藝術教育上的努力，新一代的畫家在六七十年代
(1919-1975) acting as one of the advisors for the museum. Ding 起漸露頭角。個別畫家更組織藝術團體，例如嶺南藝苑門人於1961
Yanyong (1902-1978), Lui Shou Kwan and Xiao Lisheng (1919- 年成立的今畫會。他們連同楊善深創立的春風畫會等嶺南畫派同
1983) also served as lecturers for fine art courses at the Chinese 門對畫派在香港的持續發展發揮舉足輕重的地位。另一方面，兩
University of Hong Kong. 批呂壽琨的學生分別於1968年成立的元道畫會和在1970年成立的一
畫會。他們對香港新水墨運動的興起發揮極其重要的作用。
Owing to the hard work created by the first generation, a new
wave of artists quickly emerged to form new art societies, such as 進入七八十年代，香港經濟步入全盛時期。與其同時，中國內地
the To-day’s Chinese Art Association in 1961, the Spring Breeze 進入改革開放初期，藝術交流比以往更加頻繁。香港中文大學曾
Arts Club established by Yang Shanshen, as well as two societies set 邀請眾多內地藝術家進行藝術交流，其中包括國內名家如宋文治
up by students of Lui Shou Kwan, the Tao Art Association in 1968 （1919-1999）、亞明（1924-2002）、李苦禪（1899-1983）等
and One Art Group in 1970, representing the then ‘New Spirit’ of 畫家。另一方面，香港成熟的藝術市場提供機會讓香港的藝術家
modern art in Hong Kong. 和藝術愛好者更容易接觸到內地的藝術家並收藏其作品，相互影

During the 70s and 80s, Hong Kong became the centre of finance
and international trade in the Asia, bringing in considerable wealth
and talent. It allowed for more cultural exchanges, and Hong Kong
academies were able to invite artists in China to join in for artist’s
exchanges. Furthermore, the sophisticated market allowed for

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