Kayi Ho | The Chinese University of Hong Kong (original) (raw)
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Handheld Landscapes: The Four Seasons in Chinese Paintings from the Birmingham Museum of Art, 2023
藝術學研究附刊・2021藝術史教學研究趨勢座談會專刊 (Journal of Art Studies．Supplement．2021 Forum on Trends in Art History Teaching and Research) , 2022
本文簡要回顧二十世紀以來策展、圖錄編寫與中國繪畫史研究、教學之密切關係。特別在美國，於傳統中國繪畫逐漸成為現代藝術史研究對象的初始階段，博物館策展人與院校教學人員經常互相合作。此時博物館對中國繪... more 本文簡要回顧二十世紀以來策展、圖錄編寫與中國繪畫史研究、教學之密切關係。特別在美國，於傳統中國繪畫逐漸成為現代藝術史研究對象的初始階段，博物館策展人與院校教學人員經常互相合作。此時博物館對中國繪畫的收藏、展覽圖錄的出版，對大學院校中中國繪畫史的研究、教學有著重大貢獻。本文以幾本對中國繪畫史研究有深遠影響之圖錄的編寫情形為例，說明院校與博物館跨界合作在研究與培育人才方面已產生的效果，並指出將來院校與博物館分工日益分明之趨勢的可能缺失。
This article reviews the interlocking relationships of curating, catalog writing, research, and teaching in the field of history of Chinese painting from the twentieth century onward. Especially in the United States, when traditional Chinese painting gradually became a subject in the study of modern art history, museum curators and university teaching staff collaborated frequently. During this initial phase, the collecting of Chinese painting and publishing of exhibition catalogs in museums contributed tremendously to the research and teaching of the history of Chinese painting in universities. This article uses the compilations of several influential exhibition catalogs in the study of the history of Chinese painting as examples to demonstrate the fruitful results in research and fostering talents created by the collaboration between universities and museums, through which this article also intends to point out the possible drawbacks of the current development of creating a clear division between university and museum.
夏荊山藝術論衡 Journal of Xia Jing Shan’s Art, 2021
由夏荊山許多臨摹或取材自古代佛畫的作品，可知夏氏對由宋至清之菩薩、觀音、羅漢、鍾馗等經典作品的熟稔。本文前半部將以夏荊山羅漢畫為對象，分析夏荊山臨仿古畫之〈羅漢畫〉的圖像來源，及其對古畫圖式臨仿... more 由夏荊山許多臨摹或取材自古代佛畫的作品，可知夏氏對由宋至清之菩薩、觀音、羅漢、鍾馗等經典作品的熟稔。本文前半部將以夏荊山羅漢畫為對象，分析夏荊山臨仿古畫之〈羅漢畫〉的圖像來源，及其對古畫圖式臨仿與再創造的方法，並歸納出夏氏羅漢畫具有精於勾描、設色的特徵，有別於其觀音、達摩、鍾馗圖常見的縱逸氣質，而更接近於其佛、菩薩圖的沉靜、華美。而傳抄轉譯古代畫樣的作法，自古即為常見的佛畫創作方式。本文的後半部即以幾種明清時期佛畫畫樣於不同媒材、時空環境間的傳演例子，說明夏荊山佛畫的創作模式亦古來有自。
Xia Jing Shan’s profound knowledge of ancient Chinese Buddhist paintings is evidenced by the abundant amount of his copies and adaptations of paintings of Bodhisattvas, Avalokiteśvara, Arhats, and Zhong kui from the Song through the Qing periods. This article analyzes Xia Jing Shan’s Arhat paintings to discern the origins of his Arhat motifs and his modes of copying, imitating, and transforming ancient painting models. In terms of the artistic characteristics of Xia’s Arhat paintings, their meticulous representation and lavished colors are closer to that of his paintings of Buddhas and Bodhisattvas than his paintings of Avalokiteśvara, Bodhidharma, and Zhong kui, which feature untrammeled brushwork and extraordinary atmosphere. The latter part of the article uses examples of the transmission and adaptation of hand-painted or woodblock-printed Buddhist painting models in China, especially during the Ming and Qing periods, to demonstrate that Xia Jing Shan inherited this painting method from ancient masters.
北山汲古——中國繪畫 The Bei Shan Tang Legacy: Chinese Painting, 2019
北山汲古──中國繪畫 The Bei Shan Tang Legacy: Chinese Painting, 2019
Handheld Landscapes: The Four Seasons in Chinese Paintings from the Birmingham Museum of Art, 2023
藝術學研究附刊・2021藝術史教學研究趨勢座談會專刊 (Journal of Art Studies．Supplement．2021 Forum on Trends in Art History Teaching and Research) , 2022
本文簡要回顧二十世紀以來策展、圖錄編寫與中國繪畫史研究、教學之密切關係。特別在美國，於傳統中國繪畫逐漸成為現代藝術史研究對象的初始階段，博物館策展人與院校教學人員經常互相合作。此時博物館對中國繪... more 本文簡要回顧二十世紀以來策展、圖錄編寫與中國繪畫史研究、教學之密切關係。特別在美國，於傳統中國繪畫逐漸成為現代藝術史研究對象的初始階段，博物館策展人與院校教學人員經常互相合作。此時博物館對中國繪畫的收藏、展覽圖錄的出版，對大學院校中中國繪畫史的研究、教學有著重大貢獻。本文以幾本對中國繪畫史研究有深遠影響之圖錄的編寫情形為例，說明院校與博物館跨界合作在研究與培育人才方面已產生的效果，並指出將來院校與博物館分工日益分明之趨勢的可能缺失。
This article reviews the interlocking relationships of curating, catalog writing, research, and teaching in the field of history of Chinese painting from the twentieth century onward. Especially in the United States, when traditional Chinese painting gradually became a subject in the study of modern art history, museum curators and university teaching staff collaborated frequently. During this initial phase, the collecting of Chinese painting and publishing of exhibition catalogs in museums contributed tremendously to the research and teaching of the history of Chinese painting in universities. This article uses the compilations of several influential exhibition catalogs in the study of the history of Chinese painting as examples to demonstrate the fruitful results in research and fostering talents created by the collaboration between universities and museums, through which this article also intends to point out the possible drawbacks of the current development of creating a clear division between university and museum.
夏荊山藝術論衡 Journal of Xia Jing Shan’s Art, 2021
由夏荊山許多臨摹或取材自古代佛畫的作品，可知夏氏對由宋至清之菩薩、觀音、羅漢、鍾馗等經典作品的熟稔。本文前半部將以夏荊山羅漢畫為對象，分析夏荊山臨仿古畫之〈羅漢畫〉的圖像來源，及其對古畫圖式臨仿... more 由夏荊山許多臨摹或取材自古代佛畫的作品，可知夏氏對由宋至清之菩薩、觀音、羅漢、鍾馗等經典作品的熟稔。本文前半部將以夏荊山羅漢畫為對象，分析夏荊山臨仿古畫之〈羅漢畫〉的圖像來源，及其對古畫圖式臨仿與再創造的方法，並歸納出夏氏羅漢畫具有精於勾描、設色的特徵，有別於其觀音、達摩、鍾馗圖常見的縱逸氣質，而更接近於其佛、菩薩圖的沉靜、華美。而傳抄轉譯古代畫樣的作法，自古即為常見的佛畫創作方式。本文的後半部即以幾種明清時期佛畫畫樣於不同媒材、時空環境間的傳演例子，說明夏荊山佛畫的創作模式亦古來有自。
Xia Jing Shan’s profound knowledge of ancient Chinese Buddhist paintings is evidenced by the abundant amount of his copies and adaptations of paintings of Bodhisattvas, Avalokiteśvara, Arhats, and Zhong kui from the Song through the Qing periods. This article analyzes Xia Jing Shan’s Arhat paintings to discern the origins of his Arhat motifs and his modes of copying, imitating, and transforming ancient painting models. In terms of the artistic characteristics of Xia’s Arhat paintings, their meticulous representation and lavished colors are closer to that of his paintings of Buddhas and Bodhisattvas than his paintings of Avalokiteśvara, Bodhidharma, and Zhong kui, which feature untrammeled brushwork and extraordinary atmosphere. The latter part of the article uses examples of the transmission and adaptation of hand-painted or woodblock-printed Buddhist painting models in China, especially during the Ming and Qing periods, to demonstrate that Xia Jing Shan inherited this painting method from ancient masters.
北山汲古——中國繪畫 The Bei Shan Tang Legacy: Chinese Painting, 2019
北山汲古──中國繪畫 The Bei Shan Tang Legacy: Chinese Painting, 2019