The exhibition includes ritual bronzes from the Shang period (c. 1600-c. 1050 BCE), and later archaic examples, ceramic vessels and sculpture, works of art in jade, cloisonne, glass, wood and bamboo, as well as ink and oil paintings. Contemporary art is also included to show the influence of 20th century art on post-1989 artists.
The Oriental Ceramic Society of Hong Kong and the University Museum and Art
Gallery of the University of Hong Kong are delighted to present this
exhibition exploring the concept of imitation in Chinese art. Featuring
over 200 exhibits from the private collections of members of the Oriental
Ceramic Society of Hong Kong and institutional contributors, many of the
objects have never been on view to the public before.
China's long and unbroken cultural tradition has encouraged artists,
calligraphers and craftsmen to draw on the great works of the past as
inspiration for new works of art. So much so that the practice of emulating
the ancients has in itself become a traditional practice, making the broad
concept of 'imitation' one of the most fascinating areas of study in Chinese
art. In this exhibition three definitions of imitation are explored.
Firstly, imitation in the form of archaism, which began in the Song dynasty
(960-1279), and reflected a reverence for, and desire to possess a utopian
past. Secondly, imitation in the assimilation of motifs and designs from
other cultures, which began as early as the Han dynasty (220 BCE-CE 206)
with the opening up of trade routes known as the Silk Route, and continues
until the present day. Finally, imitation in the re-creation of works of
art in media other than that in which they were originally crafted,
resulting in objects of exceptional creativity and ingenuity.
The exhibition will include ritual bronzes from the Shang period (c. 1600-c.
1050 BCE), and later archaic examples, ceramic vessels and sculpture, works
of art in jade, cloisonne, glass, wood and bamboo, as well as ink and oil
paintings. Contemporary art is also included to show the influence of
twentieth century art on post-1989 artists.
In English, the concept of imitation tends towards the negative ranging from
sincere expressions of admiration to outright plagiarism. This exhibition
will draw attention to the value that Chinese artists and artisans
throughout the ages have placed on identifying their work within a long
tradition of continuing cultural production.
The exhibition's opening reception will take place on Friday 13 October,
2006 at 6:00 pm. The guest-of-honour will be Professor Lap-Chee Tsui,
Vice-Chancellor of The University of Hong Kong. Members of the press are
warmly invited to attend.
An informal press preview will take place on Thursday 12 October, between
3:00 and 4:30 pm, when the exhibition's curator Mr Anthony Hua-Tien Lin will
be available to answer questions about the exhibition or provide short
interviews.
A symposium on Art & Imitation will be presented at the Museum on Saturday
14 October from 2:30 to 5:30 pm in which Richard Stanley-Baker, Mayching
Kao, Paul Serfaty, and Julian Thompson will explore the themes of the
exhibition in relation to their own fields of expertise. This event will be
conducted in English and is free and open to the public. No registration
required.
A fully-illustrated catalogue of the exhibition with essays by George Fan,
Mayching Kao, Rosemary Scott, Paul Serfaty, Richard Stanley-Baker and Julian
Thompson will be available.
The exhibition and symposium are generously sponsored by the Hongkong and
Shanghai Banking Corporation.
Image: Lamqua (II) (fl. 1820-1860). Portrait of the Chinese Merchant Mowqua. Oil on canvas 75 x 58 cm
Thursday 12 October, between 3:00 and 4:30 pm
University Museum and Art Gallery - Hong Kong
Monday to Saturday 9:30 am to 6:00 pm and Sunday 1:30 to 5:30 pm