Thursday, 2 July 2015

Young Buds of the Lingnan School of Painting Exhibition of Chinese Brush Paintings by Lingnan Artists of Vancouver








































Young Buds of the Lingnan School of Painting
Exhibition of Chinese Brush Paintings by Lingnan Artists of Vancouver

Opening Reception: Saturday July 18, 2015  2:00 pm (Free and open to public)
Exhibition dates: July 18 – August 9, 2015 (Closed on Mondays)
Chinese Cultural Centre Museum, 555 Columbia Street, Vancouver, B.C. V6A 4H5

開幕禮:2015年7月18日(星期六)下午 2:00 pm
展覽日期:2015年7月18日至8月9日(周一7月6日休息)
地址:大溫哥華中華文化中心文物館·溫哥華哥倫比亞街555號

嶺南派中國畫的聲譽 , 大約於1930年代在中國雀起。由當時留學日本回國 ,推動中國畫改革有 “嶺南三傑”之稱的廣東畫家高劍父(1879-1951)、高竒峰(1889-1933)及陳樹人(1883-1948)所發起 ,以“折衷中外, 融合古今”為宗旨 , 將日本及西洋的畫風帶進中國 ,並且著重寫生 ,以中國南方的景物及花鳥入畫 ,賦色艷麗及具有光度感 , 而自成一格。三子重視教學 ,其第二代傳人趙少昂(1905-1998)、黎雄才(1910-2001)、關山月(1912-2010、楊善深(1913-2004)亦各自有所發揮和成就 ,被稱為“嶺南四大家”。

嶺南派的藝術 ,傳至現代已開枝散葉 ,尤其是在海外已有第五代的傳人。然而當最後一位嶺南大師楊善深於2004年逝世後 ,有論者認為由二高一陳開山的嶺南派繪畫已經終結及由時代變遷所取代。中西合璧的現代中國畫趨勢,正如日本畫一樣,變成不可避免的潮流。於是,2002年在廣州的一個展覽 ,遂有“後嶺南畫派”的稱譽。其實 ,發展到今天 ,華人散佈在海外 ,嶺南派已經完全超越地域的概念。現在,嶺南派的第四、第五代傳人,在該派的精神下,都各自在追究求中國繪畫的創新。

本月十八日在大溫哥華中華文化中心文物館展出的一個名為《嶺南新秀彩墨畫展》,展出本地畫家作品五十多幅 ,俱為嶺南派的第五代傳人,包括張李雪康、林燕桃、曾美貞、崔美蓮、劉誌文、容貴生、林純淳、張世英、林端升、朱崢榮及司徒澤華等人。他們都拜在嶺南名家陳蘊化門下, 各自所追求的繪畫風格不一,也有曾經跟隨別的派系學習 。他們擅長傳統的花鳥蟲魚、走獸和山水 ,註重筆墨 ,但在佈局和表現方面,卻力求新意 ,給作品註入現代感 ,展示岀中國繪畫未來的一個方向及可能性。


The Significance of “The New Buds of the Lingnan School of Painting” Exhibition

The Lingnan School of Painting flourished in China around the 1930’s. Championed by three artists, Gao Jianfu (1879-1951), Gao Qifeng (1889-1933) and Chen Shuren (1883-1948) who returned from studying modern trends of the art of painting in Japan, these elders professed a style of Chinese painting that would “combine the techniques of the East and the West, and the tradition and the contemporary”. They brought in elements in Japanese and European paintings which emphasized on life and the effect of light into the Chinese tradition, creating a brilliant and unique style of colors and light for the southern style of birds and flowers genre. The three elders also placed high regards to teaching and fostered a second generation of outstanding students, four of whom, Zhao Shao-ang (1905-1998), Li Xiong-Cai (1910-2001), Guan Shan-yue (1912-2001) and Yang  Xian-shen (1913-2004), came to be known as “The Four Masters of the Lingnan School”.

Today, students of the Lingnan School have spread all over the world. Especially outside China, disciples of the Lingnan School have given rise to a fourth or fifth generation. However, after the death of the last master Yang Xian-shen in 2004, many scholars concluded the official demise of this school as originated by the two Gaos and one Chen. Time has changed, and so are some of the original concepts and techniques. The proposed blending of the East and the West has become the inevitable mainstream, just like the experience of  contemporary Japanese painting. Thus, begin in a painting exhibition at Guangzhou in 2002 a new label, “The post-Lingnan School”. As a matter of fact, due to Chinese diaspora in the late twentieth century, the Lingnan School is no longer restricted by territorial demarcations. Many of the fourth and fifth generation of the so-called Lingnan School artists now reside outside China and they carry on the torch. Each one of them proceeds in his or her own creative effort, under the spirit of the Lingnan School, to find a way of their own.

 “The New Buds of the Lingnan School of Painting” Exhibition presented by the Chinese Cultural Centre of Greater Vancouver to open on 18 July , 2015 comprises artists from the fourth and fifth generation of this school, including Ada Chui, Brian Gee, Dawn Gin, Betty Hung,  Jeannie Lee, Yvette Lee, Yin-To Lin, Kwai-Sang Yung and jack Szeto. They all learn under Lingnan Master James Tan and they all pursue in different directions. Some of them have followed other masters and styles of painting even before joining the Lingnan School. Their genres cover the birds and flowers, insects and fish, portraits and landscape. They abide by the traditional emphasis on the skill of the strokes, while experimenting on space and composition, and in their own expressions try to break new grounds by infusing a feel of the contemporary. They bring in a new breath and offer a glimpse into the future of Chinese ink painting.