Hong Kong Convention & Exhibition Centre, Hall 5B
Friday, 15 December, 4.30 pm - 6 pm
Prof. Eugene Wang, Abby Aldrich Rockefeller Professor of Asian Art, Harvard University
What does Chinese ink painting, a time-honoured medium, benefit from time-based media, such as film? In European tradition, drawing has largely been grouped with prints, the two tend to be compartmentalized together. Does Chinese ink painting have more affinity to draftsmanship or is it better aligned with time-based media? Is there something deeply process-driven about ink painting that its effect lends itself for cinematic amplification? With Liu Guosong’s [Liu Kuo-sung] ink paintings as a test case, the affinity and synergy between the ink medium and film as time-based medium can go a long way.
In English with simultaneous Mandarin interpretation
Dr. Eugene Wang
Eugene Y. Wang is the Abby Aldrich Rockefeller Professor of Asian Art at Harvard University. A recipient of the Guggenheim Fellowship and other awards, he is the art history editor of the Encyclopedia of Buddhism (Macmillian, 2004). His book, Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China (2005), garnered the Academic Achievement Award from Japan in 2006. His extensive publication covers all periods and aspects of Chinese art. His current research interests include the exploration of artful mind and its materialization. He has served on the editorial board of the Art Bulletin, and the advisory board of Center for Advanced Study in Visual Arts, National Gallery of Art, Washington, D.C. He is currently in the process of founding Harvard CAM (Chinese Art Media) Lab that is devoted to the production of multimedia designs of Buddhist and other cultural experiences. The lab’s pilot projects include “Mind in Caves,” a series of multimedia exhibitions and films of Buddhist cave programs in the manner of “virtual theater,” and an essay film about the contentious rise of the “abstract painting” in Asia in the 1960s.