|Title:STUDY GROUP SPRING 2020|
|Title:Study Group Autumn 2019|
The theme chosen for the Autumn Study Group is “The Artistry of Folk Tales, Legends and Myths”.
During previous years of the Study Group which incidentally has been in existence since the 1990s, we have been privileged to learn more about many of the historic and artistic wonders of our world and particularly those in Asia. We have seen the extraordinary shapes, designs, effigies, carvings and paintings which embellish many architectural sites and are sometimes repeated into the present day. We have been intrigued by the stories behind these eye catching decorations. The temple figures, carvings in wood and stone, the wall paintings, the monuments and other decorations which grace so many iconic sites all tell a tale and it is these explanations of the stories behind them that we shall be seeking to elucidate.
Subject to arrangements to be confirmed, we will be meeting at Conet in Queen’s Road Central on Tuesdays from 11 am to 1 pm starting in late September/early October. Details will be announced in due course.
We are a very uncritical and friendly group meeting in a relaxed environment. We all enjoy doing some research and passing on what we have learnt to fellow members about a topic which has interested each of us. If you would like to join us please contact Patrick Moss at email@example.com who will be happy to give you any further information about the Study Group.
|Title:VISIT TO THE ANTIQUE MAP COLLECTION AT THE LEE SHAU KEE LIBRARY, HKUST.|
Date: 21 February 2019 (Thursday)
Time: 10:15 am to 3:15 pm
Venue: Lee Shau Kee Library, HKUST.
Fees: HK$200 for members, $300 for non Members and $100 for YF.
Transport: Coach from Central Post Office to HKUST, Sai Kung and return.
Contact: Patrick Moss at firstname.lastname@example.org
The Lee Shau Kee Library at HKUST holds an impressive collection of Western maps, atlases and pictures of China and Asia drawn in the 16th to 19th Centuries.
These show not only how the knowledge of China by Western cartographers advanced with the growing trade and cultural exchanges between Europe and China but also how the maps themselves showed an increasing level of accuracy. Quite apart from documenting the topography of the region many of the maps bear artistic embellishments to portray the flora and fauna of the country and oceans to add to their attraction.
We shall depart promptly from outside Central Post office at 10:15 am, on Thursday 21 February and will be met at the Library at HKUST in Clearwater Bay at 11 where we will have a presentation by Dr. Marco Caboara, the Digital Scholarship and Archives Manager of the collection, followed by a map study session. We will leave the Library at 12:30 pm to go by coach for lunch in Sai Kung (at members’ own expense). We anticipate returning to Central by 3:15 pm.
Numbers are limited so please register early to avoid disappointment.
|Title:Study Group Spring 2019|
The Study Group has just concluded an enthralling Autumn term looking at Asian Architecture with particular emphasis on China and Japan. Members researched and prepared presentations on a diversity of subjects including pre War architecture of Tokyo, the buildings on the Bund in Shanghai, the Gold and Silver temples in Kyoto, the Potala Palace, Dou Gong, Suzhou Gardens and Tulous amongst others.
After discussion it was agreed amongst the group that the Spring 2019 term would have the same theme of Asian Architecture but concentrating on South East Asia.
Such a theme gives plenty of scope for members to choose from a wide range of countries, cultures and religions expressed in the local architecture in the region and should prove again to be a fascinating time for learning more about our neighbouring part of the world.
Date: Term starts on Tuesday 19 February 2019 at 11:15 and will continue until late March/early April.
Venue: Multi function room A, H6 Conet, The Center, 99 Queen’s Road, Central, HK.
Fees: To be confirmed. About HK500 for the term
If you would join us for the Spring term do please let Patrick Moss know at email@example.com
|Title:Study Group autumn 2018|
The Friends Study Group has a new home for the Autumn term. We shall be meeting in the newly opened H6 Conet. This is an art and community centre established in the basement of The Center, 99 Queen’s Road Central, Hong Kong.
The topic for the Autumn term will be Asian Architecture with particular reference to the architecture of China, Korea and Japan. It is a very big topic and there is much scope from which to choose. New buildings, historic structures, iconic examples of a theme or just a building which fascinates you, appeals to you or about which you would like to find out more and pass on to other members of the group. Exteriors, interiors, the purpose for which it was built or anything else which you find interesting. We are a very uncritical and friendly group all enjoying doing some research and passing on what we have learnt to fellow members about a topic which has interested each of us in a relaxed environment. Do join us for what you will find to be an enthralling few weeks of enhancing your knowledge in an unchallenging way.
Details of the Autumn term are as follows:
Dates: Commencing at 11:15 a.m. on Tuesday 23 October. Thereafter on the following Tuesdays at 11:15 a.m. 23 and 30 October, 13, 20 , 27 November and 4 December.
Venue: Small Multi-function Room A, H Conet, Basement, The Center, 99 Queen’s Road, Central, HK
Fees: Friends members HK$500. Non-members HK$600
If you would like to join us in the Autumn please send an expression of interest to firstname.lastname@example.org .We will be delighted to hear from you and will be in touch.
|Title:What is the Friends Study Group?|
The Friends Study Group has existed for more than 30 years and has a large collection of presentations prepared by members on a vast diversity of subjects. Currently the group consists of about 15 members who meet during "term" time at the Maritime Museum in Central on Tuesday mornings from 10 am to 1 pm. Currently we have two "terms" each year in Spring and Autumn and each lasts for about 8 weeks.
An overall main topic is usually agreed upon by group members and each particpant chooses the subject on which they wish to make a presentation. Much of the fun is in researching one's chosen subject and then preparing a presentation usually with Powerpoint or similar programme lasting between 30 and 45 minutes. Normally there are two presentations each week and we usually have an optional lunch nearby to continue discussion and chat.
We are an enthusiastic, amateur group who enjoy learning from others' research and presentations. We are, we believe, an uncritical, friendly audience and hope you will consider joining us. The next topic can be found advertised on this site and in the FFF. If you have any questions please contact Patrick Moss at email@example.com. and we will try to tell you much fun the Study Group can be.
|Title:Study Group spring 2018 The Arts and Crafts of Japan (2)|
The theme of the ASutumn term of the Study Group the Arts and Crafts of Japan proved very popular. It provoked a number of fascinating topics chosen and presentedd by members ranging from the works of Hokusai and Hiroshige, marketing of beauty products, lacquer, folk dolls, netsuke and ukiyo-e.However there remain many more examples of Japanese art and the country's long history of craftsmanship.Accordingly we have decided to continue with this subject for another term.
From 27 February we shall meet every Tuesday at 10 am at the Education Room of the Maritime Museum in Centrtal followed by an optional lunch together. There will be no meeting on 3 April.
If you wouold like to join us in thje Spring please send an expression of interest to Patrick Moss at firstname.lastname@example.org and we will be in touch.
|Title:Study Group Summer 2017 The Arts and Crafts of Japan|
Often overlooked, or even deliberately ignored, in Hong Kong, the arts and crafts of Japan have a rich diversity and demonstrate age-old skills and cultures that hold considerable fascination worldwide and are worthy of close attention.
The Friends Autumn Study Group will choose aspects of Japanese art and share their acquired knowledge by presentations to other participants. The term is likely to be from early October until early December depending upon the number of participants. We meet every Tuesday at 10 a.m. in the Education Room of the Maritime Museum in Central and there is an optional lunch afterwards.
Any attempt to list a representative selection of Japanese arts and crafts would exceed the space allotted to this notice. What immediately spring to mind are the works of Hokusai and Hiroshige, woodblock prints by Utamaro, the art of the kimono, the tea ceremony, bonsai, inro and netsuke, origami, Shunga art and that of the Floating World, Tanuki, dressed dolls, mechanical toys, cloth wrapping, sword guards, Imari ware, painted screens, and elegant lacquerware. The list seems almost endless and presents a fascinating portion of what Japan has to offer to those seeking to learn and appreciate the country’s age old culture.
If you would like to join us in the Autumn, please send an expression of interest to email@example.com and we will be in touch.
|Title:Study Group Autumn 2016. The Influence of Western Art in China and the Impact of Chinese Art in the West|
The influence of Western Art in China and the impact of Chinese Art in the West
Date: Tuesday mornings late September/early October until early December 2016. TBC
Time: 10 a.m. to 12:30 p.m.
Venue: Maritime Museum, Pier 8, Central, HK.
European artistic styles first began to influence Chinese painting in the late 16th and early 17th centuries when European Jesuit missionaries such as Matteo Ricci and Giuseppe Castiglione first began to enter China and serve at the Imperial Court. Many of these missionaries brought engravings, illustrated books and paintings with them and it was through these visual materials that the Chinese were first introduced to Western linear perspective and the use of shading to model forms (chiaroscuro).
The Dutch East India Company fleet in the 18th century comprised more than 200 ships and although there main cargo was spice the number of pieces of porcelain exported to Europe from China was astronomical. One ship alone was reported in 1634 as having carried 219,027 pieces and between 1604 and 1657 more than 3 million pieces reached the Netherlands. More arrived throughout Europe as trade with China increased. This trade had an enormous impact and changed the course of ceramic history. Traditional stoneware fell out of favour in Europe and technically superior and aesthetically more versatile Chinese products were both greatly admired and widely copied. Low fired ceramics decorated in blue on a white ground were produced in Delft and, once Johann Gottfried Bittger “reinvented” porcelain in 1709, high temperature kilns were set up at Meissen and elsewhere.
However it was not just blue and white that fed this demand for Chinoisserie. Everyone who could afford it wanted “something” Chinese in their home and from the mid 16th to late 17th centuries that demand was avidly met by trading companies such as the Dutch VOC and the British East India Company.
In his published books of designs Thomas Chippendale gave prominence to a Chinese style which not only encompassed the furniture that he would create but also the interior design to complement it. In architecture Chinese Chippendale was the name given to railings and balustrades resembling the designs of the cabinetmaker in his Chinese style work.
The traditional English country garden was surpassed by parks and gardens in Chinese style containing imitation temples and pagodas such as that in Kew Gardens in London. Even clothing fashions adopted an Oriental look. Such was the fascination with what was regarded at that time as the mysterious and, for most Westerners, a newly discovered world in the distant East. When originals could not be purchased copies were made so as to satisfy the acquisitiveness of those inspired by the hitherto unknown culture.
It was not, however, a one sided exchange. In the late 19th century the Manchu government sent students to the United States to study and learn from the West. France was recommended as the role model of modern civilisations by the Chinese government and a large number of Chinese painters went to Paris to widen their horizons and learn of post Impressionism art in Europe. Amongst their number were Lin Fengmian, Wu Guanzhong, Za Wou-ki and Pan Yuliang. It was Lin Fengmian who returned from Paris and established the 1st Chinese Academy of Art in Hangzhou teaching a new generation of artists before they too left for Europe to perfect their skills and pass on their knowledge.
In the 1950s until the late 1970s, Social Realism, the dominant artistic style in China at the time, drew attention to the conditions of the working class and the hardships of everyday life. The style was introduced into China by Konstantin Maksimov, a Soviet painter sent to China on an official exchange in 1955. His legacy not only had an impact upon students who studied with him but also on the Chinese art world as a whole.
The relationship of the Chinese artist Teng Baiye (1900-1980) and the American painter Mark Tobey (1890-1976) is yet another example of East meets West and the influence of one on the other.
Zhang Daqian established a friendship with Pablo Picasso and the two artists met in Cannes in 1956 when each exchanged examples of their own style of painting. The works of these two artists influenced by the other are now at auction the two most highly priced in the world.
In the Autumn term the Friends Study Group will explore this topic in depth.
To avoid duplication of effort you may like to know that presentations are already planned on Dunhuang wall paintings, the artistic exchanges between the French Louis XIV and the Kangxi emperor, Pan Yuliang, Walasse Ting and Chinese export wallpaper. However there are so many other examples not even mentioned above and we do hope you will join us for what seems set to be a fascinating journey of discovery.
For further information please contact Patrick Moss at firstname.lastname@example.org
|Title:Study Group Spring 2016 The Qing Dynasty 1644 to 1911|
Over the last three years the Study Group has considered, researched, and presented papers on the Chinese dynasties from the Han to the Ming. We enjoy choosing a subject, finding out as much as we can about it, and then preparing and presenting a paper. We do not take ourselves too seriously, but we do enjoy hearing what other members of the group have discovered and interacting with them in a relaxed atmosphere. It is a stimulating experience to learn so much history and art, particularly when one is part of a group which enjoys sharing such information. There is, of course, no requirement to attend each session in the term.
Like its predecessors, the Qing came to power on the back of rebellion and a loss of the Mandate of Heaven by the Ming emperors. Some 260 years later, it was to follow the same route to extinction, not just of the dynasty but also the empire. The country was in the process of changing forever. The change witnessed new styles in the decorative arts, influenced sometimes by burgeoning foreign trade and customs, but more frequently by “home grown” developments. As a result, artistic endeavours rose to a standard of quality hitherto unseen. Jade and ivory carving reached a peak of creativity and excellence, whilst lacquerware, seal carving, furniture design, and cloisonné* attracted collectors keen to acquire new masterpieces. Amongst the contemporaneous collectors was the Qinglong Emperor, whose acquisitiveness led to the creation of impressive collections, which even today never fail to impress. Painting took on Western influences, as shown by the style of individual artists such as Gong Xian and, to a lesser degree, by the court artists. The Lingnan school of artists thrived during the latter part of the dynasty. The advent of short stories, the composition of more broadly based poetry and the popularity of Peking opera all pointed to a rising, better educated, and healthier population. Romances such as “Dream of the Red Chamber” appealed to a more literate population, whilst a series of published encyclopedias and dictionaries may well have benefitted those who undertook the study and the rigorous requirements for the Imperial Examinations, which had been revised and reintroduced.
The Shenyang imperial palace in Liaoning created early in the dynasty and the later additions and improvements to the Forbidden City, all illustrate the developments in architecture. Industrialisation was making itself felt and weapons of war were being produced to meet the constant threat of rebellion and incursion by foreign powers. The White Lotus Rebellion, the Taiping Revolt, the Boxer Rebellions, and the Opium Wars all show vividly the collapse of the dynasty and the troubled times leading to the 1911 Revolution.
Inevitably the 260 years produced a number of personalities, all of whom made their own mark, for better or worse. They include: the Qianlong Emperor, the Dowager Empress Cixi,* Sun Yat Sen, Pu Yi*, Aurel Stein, Prince Dorgon, Gong Xian, Zeng Guofan, Liang Qichao, Sir Robert Hart*, Yuan Shi Kai, and Hong Xiuquan.
(Please note that those subjects marked * are already reserved)
We believe that there are many interesting skills, personalities, events, and achievements of the dynasty which would be fun to explore further. Do join us for what will be a fascinating and rewarding series of presentations on the Qing. You will not be disappointed.
Bookings and Enquiries:
Contact Patrick Moss at