Media

HKU weekly notice

22 Dec 2017

 

UMAG exhibitions
1. Objectifying China: Ming and Qing Dynasty Ceramics and Their Stylistic Influences Abroad Exploring five centuries of exchange between East and West

Period: Now till February 27, 2018 (Tuesday)

A Global Industry
For thousands of years, China has provided the world with porcelain of the highest quality. Elegant and resistant to heat and moisture, Chinese porcelain of various shapes and colours was eagerly sought—and just as eagerly imitated—by craftsmen across the globe. From the sixth to twentieth centuries, Chinese kilns produced everything from magnificent display pieces for the imperial court to vast quantities of bowls and dishes intended for everyday use, as well as for export to Southeast Asia, Japan, Korea and the Islamic world.

The first Chinese porcelains did not arrive in Europe until the fourteenth century, when small numbers were presented to the ruling houses of Europe via intermediaries in the Middle East. Technologically superior to low-fired European ceramics, they were regarded as objects of rarity and luxury, and were sometimes mounted with silver or gold to emphasise their preciousness. By the early sixteenth century—after Portugal had established trade routes to China—Chinese potters began to produce large amounts of porcelain specifically for export to Europe as part of a larger trade in silk, spices, tea and lacquer.

Like all successful inventions, porcelain inspired competition. Kilns in Asia had been producing a wide variety of ceramics in imitation of Chinese wares for centuries, but European attempts to imitate porcelain were unsuccessful until Johann Böttger unlocked the process in Meissen, Germany in 1709. By the end of the century, factories across Europe were producing hybrid works that combined the best features of European and Asian design.

Venue: 1/F T.T. Tsui Building, UMAG, HKU, 90 Bonham Road, Pokfulam

2. Ifugao Sculpture: Expressions in Philippine Cordillera Art showcasing the powerful simplicity of the rice terraces

Period: Now till February 4, 2018 (Sunday)

The works displayed in the show range from sculptural objects, including ‘bulul’ statues, deities associated with the production of bountiful harvests; ‘hipag’ (or ‘hapag’) figures, war deities used as vehicles through which divine help can be summoned; sculptural boxes used in ceremonies, the ‘punamhan’; and various boxes for the storage of food—sometimes called ‘tangongo’ or ‘tanoh’—along with other functional items such as ‘kinahu’, food bowls, and toys.

Fascinated with the modern abstract style of these carved 19th- and 20th-century sculptures, the exhibition takes an artistic rather than an anthropological approach, highlighting the aesthetics of the displayed artworks rather than signifying them as ethnic markers or religious tools. For instance, both the bulul figures and boxes are deeply connected to cultural rituals, while they present abstract expressions of a group of talented rural artists.

Together, these selected pieces showcase the aesthetic and artistic side of a wide range of Cordillera sculptural art from the 18th through the 20th centuries. The pieces are arranged in line with various centres of artistic gravity—‘archaic’, ‘minimalist’, ‘transition’—although the lines are sometimes blurred, and most of the ‘archaic’ material also shows ‘minimalist’ elements.

One of the essays in the exhibition catalogue draws comparisons with other tribal arts and describes their influence over modern Western artists, such as the Russian Wassily Kandinsky (1866–1944), the Romanian Constantin Brancusi (1876–1957) and the French artist George Braque (1882–1963). This claim is based on visual comparisons and it is each object’s physical structure, design value and international character that is highlighted in the current exhibition.

Venue: 1/F Fung Ping Shan Building, UMAG, HKU, 90 Bonham Road, Pokfulam

3. First display of North Korea’s 20th Century Propaganda Posters in HK

Period: Now till January 28, 2018 (Sunday)

Rice is Socialism!
Stylistically influenced by communist brutalist propaganda and ideologically informed by the core work on North Korean art—Kim Jong Il’s 1992 publication Treatise on Art (Misullon)—all of these state-commissioned posters promote ‘correct’ forms of socialist realism, thereby documenting the socio-political and economic policies communicated from the Leader to the North Korean people. In so doing, daily activities are aligned with political beliefs. For example, the metaphorical configuration of rice farming with the cultivation of socialism.

Beyond their overtly ideological character, the posters also confer messages related to practical agricultural technology, industrial and social developments, while portraying a distinctly human picture of the varied urban and rural communities. Altogether, the imagery displayed offers insights into a country that few have visited and from which first-hand information remains sporadic and inconsistent at best.

Venue: 2/F Fung Ping Shan Building, UMAG, HKU, 90 Bonham Road, Pokfulam

Opening Hours:
09:30 – 18:00 (Monday to Saturday)
13:00 – 18:00 (Sunday)
Closed on University and Public Holidays

Tel/Email: (852) 2241 5500 (General Enquiry) / museum@hku.hk
Admission: Free
Website: www.umag.hku.hk/en/

Media enquiries:
UMAG Programme Assistant Miss Chelsea Choi, Tel: (852) 2241 5509, Email: cchelsea@hku.hk