Written on the 40th Anniversary

寫在香港現代水墨畫會

四十週年慶

回顧近代的中國藝壇，各種畫會團體的存在和運作，對美術的發展起了重要的推動作用。在百年前中國的「五四」新文化運動以及上世紀五、六十年代台港兩地的現代美術風潮中，畫會的勃興對於文化藝術的重要影響是毋庸爭議的。縱覽一個世紀以來中國藝壇上出現過的無數畫會組織，能夠像早期上海的「決瀾社」，或其後台灣的「五月畫會」及香港的「一畫會」那般叱吒風雲者，無不是洞悉時代脈動的先機，提出具有前瞻性意義的藝術主張。

由於近代以來中國遭受了西方文明前所未有的衝擊，知識份子有感於民族文化的衰微，因此踏上了一條好新慕洋的反傳統道路。而中國美術的發展也在歐風美雨的推波助瀾下，由畫會帶領掀起一波又一波的藝術新潮。然而處於廿一世紀的新時代，環視世界思潮的轉變，無論是「後現代」或「後殖民」主義，莫不強調文化的多元性與自主性。加上中港台經濟實力的不斷提昇，中國美術的發展在「全球化」的趨勢中，絕不能再以西方為馬首是瞻，受其唯我獨尊的霸權思想所支配。

被譽為「現代水墨畫之父」的劉國松老師，就是深刻體認此一文化主體性的重要意義，在年青時便提出高掌遠蹠的主張：「模仿新的，不能代替模仿舊的；抄襲西洋的，不能代替模仿中國的。」他於1 9 5 6 年在台北成立「五月畫會」，其後又於1 9 6 8 年創建「中國水墨畫學會」， 皆是試圖通過畫會的集體力量，建立一種有別於西方畫系的東方藝術新傳統。國松師1 9 7 2 年到香港中文大學任教後， 在校外進修部首創「現代水墨畫」的課程，倡導一種以中國美學思想為核心的現代藝術創作。

在國松師的鼓勵誘掖下， 其學生於1 9 7 7 年成立「現代水墨畫協會」， 相互砥礪以建立一個既富民族精神又有時代意義的中國新繪畫傳統，並進而使之代表東方畫系來與西方藝術相抗衡。隨著香港藝術市場的活絡，商業利益淡化了集體理想的追求，而各種展示空間的落成使用，也增加了個人展出的機會，「畫會時代」的黃金歲月似乎已今非昔比。然而「現代水墨畫協會」成立至今將屆四十年，卻能不斷引進新血以維持團體的活力，屹立不搖地成為香港藝壇舉足輕重的一股力量。

我有幸親灸國松師的教誨，並曾參與「現代水墨畫協會」的活動十餘載，在陳成球、陳君立兩位會長的領導下，與畫會同道們為理想而共同耕耘努力。「現代水墨畫協會」四十年來所堅持的藝術信念以及實踐成果，確是立下了無法磨滅的歷史功績，期待它能不停地茁壯成長，為廿一世紀中國美術的發展繼續增添富姿采的新頁。

李君毅

中國藝術史博士

國立台灣師範大學美術系教授

Written on the 40th Anniversary

of Hong Kong Modern Ink Painting Society

Chinese art scene for a century, there were countless painting groups organized, those who occupied earth shaking situation like “Chueh Lan She” in early days of Shanghai, or the “Fifth Moon Group” of Taiwan later and the “One Art Group” of Hong Kong, were the ones who understood the pulse of the times, putting forward a forward-looking artistic proposition.

As China has suffered an unprecedented impact of Western civilization in all these years, and intellectuals got the feeling of declination of national culture, they embarked on an anti-traditional road aiming at the new Western way. Under the influence of Europe and United States, and the leadership of painting societies, the development of Chinese art set off waves of artistic trendy. However, in the new era of twenty-first century, looking at changes of thinking of the world, whether it was “post-modern” or “post-colonialism”, the focus was diversity and autonomy of culture. Coupled with the continuous improvement of economic strength of China, Hong Kong and Taiwan, the development of Chinese art in the “globalization” trend could no longer be subjected to the Western domineering hegemony as before.

Mr. Liu Kuo-sung, known as “ Father of Modern Ink Painting”, was deeply aware of this important culture subjectivity meaning; he even raised his claims at his early age : “Imitating old ones could not be replaced by imitating those new; copying the Western could not replace imitating the Chinese.” “Fifth Moon Group” was established by Mr. Liu in 1956 in Taipei, and then “Chinese Ink Painting Institute” in 1968; he was trying to create a new oriental art which is different from the Western painting through the collective power of painting societies. Mr. Liu founded a “Modern Chinese Ink Painting” course in the School of Continuing and Professional Studies in The Chinese University of Hong Kong when he came to Hong Kong in 1972; and advocated a modern art creation focused on Chinese aesthetics.

Under the encouragement of Mr. Liu Kuo-sung, his students set up the “Modern Ink Painting Association” in 1977; they did mutual tempered, and established a new Chinese painting tradition with rich national spirit and contemporary significance, and thus represented the oriental painting system contrasting with Western art. With the active movements of Hong Kong art market, commercial interests diluted the pursuit of collective ideals; and the completion of various display space enable individuals opportunity of exhibition increased. The golden age of “Painting groups era” seemed had been gone. However, the “Modern Ink Painting Association” has been set up for forty years, she is able to continue recruiting new members to maintain the vitality of the Association, and stand as a pivotal force of Hong Kong art scene.

I have the honor to be lectured by Mr. Liu, and participated in the activities of “Modern Ink Painting Association” for over 10 years; under the leadership of the two Chairmen, Mr. Chan Shing-kau and Mr. Chan Kwan-lap, we worked hard together for our ideals. The artistic belief and practical results adhered to by the “Modern Ink Painting Association” in these 40 years set an indelible historical

merit, hoping it keep thrive continuously, and add a colorful new page to the development of Chinese art in 21st century.

Lee Chun Yi

PhD of Chinese Art History

Professor of National Taiwan Normal University

Translated by Winnie Leung Yuk Yee