hoyin Leung | The Chinese University of Hong Kong (original) (raw)
Researcher / Curator / Writer based in Hong Kong.
Founder of a community project, I Live it All (iliveitall.com).
Hoyin earned his M.phil (history of Chinese Art) from The Chinese University of Hong Kong.
Email - harrylhoyin@link.cuhk.edu.hk
Website - hoyinleung.com
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Papers by hoyin Leung
晚清民初時期,中國出現不同報紙雜誌,用張灝先生的說法,1895年開始至1920年初,中國「無論是思想知識的傳播媒介,或者思想的內容,均有突破性的巨變。就前者而言,主要變化有二:一為報紙雜誌、新式... more 晚清民初時期,中國出現不同報紙雜誌,用張灝先生的說法,1895年開始至1920年初,中國「無論是思想知識的傳播媒介,或者思想的內容,均有突破性的巨變。就前者而言,主要變化有二:一為報紙雜誌、新式學校及學會制度性傳播媒介的大量湧現,一為新的社群媒體的出現。至予思想內容的變化,也有兩面:文化取向危機與新的思想領域。」 換言之,這時期正是中國思想文化的轉型時代。而在當時眾多的刊物中,尤以《點石齋畫報》等較多獲後人研究。當時不同畫報多以記錄新聞、傳播文明等為己任,屬新聞史。
而《真相畫報》與當時另一份畫報《時事畫報》關係親近,編繪者包括何劍士、高奇峰等人都直接介入現實政治,如曾參與同盟會及黃花崗起義。這兩份畫報都能為我們「重讀歷史、重新描繪近代中國進化的圖景—特別是重新認識近代知識分子如何從傳統的『士』的角色轉化為大眾社會生活的一員。」
本論文建基於李偉銘教授的說法,亦因此把題目定位在「文人」這概念,從這傳統的概念作為切入點,理解中國近代知識分子進入公共生活的情況,當中尤以視覺藝術為主,所以本篇論文把研究對象定為《真相畫報》的封面,通過這本由高奇峰主理的刊物,一探民國初年的文人掙扎。
Nowadays, the role of documentary photos is replaced by photos taken by a smartphone by anyone in... more Nowadays, the role of documentary photos is replaced by photos taken by a smartphone by anyone involving in any event. At this particular situation, the two artists mentioned in this article, Tse Ming-Chong and Almond Chu, provide another perspective of looking at the Umbrella Movement after a year it happened. With their observational and parodic perspective respectively, audience is invited to look at this historical event from another angle. In this regard, the use f photography is actually integrated from Sontag's time. This medium is no longer a mere documentation tool, but one of the approaches to raise question and seek for another side of reality.
Drafts by hoyin Leung
晚清民初時期,中國出現不同報紙雜誌,用張灝先生的說法,1895年開始至1920年初,中國「無論是思想知識的傳播媒介,或者思想的內容,均有突破性的巨變。就前者而言,主要變化有二:一為報紙雜誌、新式... more 晚清民初時期,中國出現不同報紙雜誌,用張灝先生的說法,1895年開始至1920年初,中國「無論是思想知識的傳播媒介,或者思想的內容,均有突破性的巨變。就前者而言,主要變化有二:一為報紙雜誌、新式學校及學會制度性傳播媒介的大量湧現,一為新的社群媒體的出現。至予思想內容的變化,也有兩面:文化取向危機與新的思想領域。」 換言之,這時期正是中國思想文化的轉型時代。而在當時眾多的刊物中,尤以《點石齋畫報》等較多獲後人研究。當時不同畫報多以記錄新聞、傳播文明等為己任,屬新聞史。
而《真相畫報》與當時另一份畫報《時事畫報》關係親近,編繪者包括何劍士、高奇峰等人都直接介入現實政治,如曾參與同盟會及黃花崗起義。這兩份畫報都能為我們「重讀歷史、重新描繪近代中國進化的圖景—特別是重新認識近代知識分子如何從傳統的『士』的角色轉化為大眾社會生活的一員。」
本論文建基於李偉銘教授的說法,亦因此把題目定位在「文人」這概念,從這傳統的概念作為切入點,理解中國近代知識分子進入公共生活的情況,當中尤以視覺藝術為主,所以本篇論文把研究對象定為《真相畫報》的封面,通過這本由高奇峰主理的刊物,一探民國初年的文人掙扎。
Nowadays, the role of documentary photos is replaced by photos taken by a smartphone by anyone in... more Nowadays, the role of documentary photos is replaced by photos taken by a smartphone by anyone involving in any event. At this particular situation, the two artists mentioned in this article, Tse Ming-Chong and Almond Chu, provide another perspective of looking at the Umbrella Movement after a year it happened. With their observational and parodic perspective respectively, audience is invited to look at this historical event from another angle. In this regard, the use f photography is actually integrated from Sontag's time. This medium is no longer a mere documentation tool, but one of the approaches to raise question and seek for another side of reality.