Zhang Daqian, China, 1935, Ink and colour on paper.
Liang Yi Museum is delighted to announce its forthcoming exhibition Ink and Wood: Modern Chinese Paintings in the Scholar’s Studio (Ink and Wood), opening on the 4th September 2018 and running until the 26th February 2019. For the first time, the museum will simultaneously present two distinct Chinese art disciplines - modern ink painting and classical furniture making - within a recreated wenfang1. Bringing together 24 exquisite modern Chinese paintings from a private collection as well as a total of 240 objects from Liang Yi Museum’s classical Ming and Qing dynasties antique collection, Ink and Wood is the first and largest exhibition to put the spotlight on antique Chinese wooden scholar objects, as well as allowing visitors to experience the true aesthetic environment of the scholar’s studio.
Liang Yi Museum is the largest private museum in Hong Kong renowned for its collections of antique Chinese furniture from the Ming and Qing dynasties, European vanities and European silver. The museum’s previous exhibitions have focused exclusively on the decorative arts – classical Chinese furniture, European vanity cases and silverware of important historical significance, to name a few. While decorative art and fine art have long been studied, categorised and exhibited under separate academic disciplines, Ink and Wood considers how these two spheres of Chinese art have actually existed in tandem throughout history, both practically and philosophically. With Liang Yi Museum’s unique curatorial ethos, visitors are invited to sit and touch the exhibited artifacts, enlivening the senses and allowing for meaningful contemplation into the concept of the wenfang. While complementing wooden artifacts from the museum’s collection, including 200 rare scholar objects comprising brush washers, book chests, brush pots, incense boxes, scroll pots, table screens, display stands and table-top storage/dressing chests, visitors will also be able to view invaluable modern Chinese paintings by Yun Shouping (1633–90), Wang Yuanqi (1642–1715), Qi Baishi (1864–1957)， Zhang Daqian (1899–1983), Lin Fengmian (1900-91), Li Keran (1907–89) and Wu Guanzhong (1919–2010), generously on loan from a local collector. The juxtaposition of ink paintings and wooden artifacts allows for the fusion of various dichotomies, not only between fine art and decorative art, but also between traditional and classical craftsmanship versus the more contemporary medium of modern Chinese painting.
(Photo © Liang Yi Museum)