Cantonese Opera Appreciation Series: Performance: “The Tale of the Purple Hairpin” 《紫釵記》 at Cultural Centre, Tsim Sha Tsui

Originating from Southern China’s Guangdong province, Cantonese opera represents a significant part of Chinese opera.  It is a traditional Chinese art form which incorporates stories drawn from Chinese history and iconic Chinese classics and myths.  Being a multi-disciplinary art form, Cantonese opera often involves music, singing, martial arts, acrobatics, and acting. 

Further, the philosophies and culture of the Chinese people are infused in the plays, often reflecting virtues such as loyalty, love, patriotism and faithfulness.

To help its appreciation, the HKU Museum Society is pleased to present the second installment of the Cantonese Opera Appreciation Series of lecture, backstage visit and performance for “The Tale of the Purple Hairpin”《紫釵記》.

The lecture is given by two experts in history, arts and culture, Ms. Lee Meiyin & Dr. Irene Tsang. Performing artist 李沛妍Ms. Li-Pui-yan, will be at the lectures to add perspective as the leading lady.

We will visit theatre backstage lead by a trained docent who speak both English & Chinese to see Performing artist李沛妍Ms. Li-Pui-yan dressed and make-up for her female role in the Cantonese Opera performance.  The performance will be in Cantonese with Chinese and English subtitles.

 

Synopsis 

“Tale of the Purple Hairpin”

On the night of Lantern Festival, a talented young man from Chang’an, Li Yi, recovers a purple hairpin that has been dropped by Xiaoyu, the woman of his dreams. Moved by his sincerity, Xiaoyu ‘s mother agrees for the two to get married on that very night. Li then seals the vow of eternal love to her in blood letters.

Although he has passed the imperial examination, Li is appointed to a position beyond the Great Walls after failing to pay homage to Lu, a senior official in charge of military affairs. Lu sees to it that nothing should be heard from Li for three years, during which Xiaoyu falls gravely ill and lives by pawning her jewelry.

Lu summons Li back to Chang’an with the intention of forcing the young man to marry his daughter. Lu further procures the purple hairpin pawned by Xiaoyu and shows it to Li as proof that his wife has remarried. Li is convinced, but he showed his determination and objected strongly to the marriage proposal. Infuriated, Lu threatens to accuse Li of expressing treacherous ideas in his poems, leaving him no choice but to comply. Upon hearing her husband has betrayed her, Xiaoyu spews out blood.

With the help of “Yellow Gown”, a chevalier in charge of military affairs, Xiaoyu reunites with Li, clearing up all misunderstandings. When Lu has his men take Li to his house by force, “Yellow Gown” orders Xiaoyu to break into the house to claim her husband. It turns out that the yellow–gowned chevalier is the emperor’s brother. The chevalier deposes Lu in the name of justice. Xiaoyu and Li Yi are finally reunited.

《紫釵記》

長安才子李益與霍小玉互相傾慕,一夜元宵佳節,霍小玉遺下紫釵被李益拾獲,霍老夫人為李益真誠所動,許二人當夜成婚,李益更為小玉以血書盟心之句。李益高中進士,未能即時拜謁盧太尉,後被逼參軍塞外。盧太尉從中作梗,致令李益三年間音訊全無。小玉染上重病,靠典賣首飾度日。此時太尉召李益回長安,欲強招他為婿。恰巧小玉典賣紫玉釵,李益誤會她改嫁,仍堅決吞釵拒婚。太尉怒不可遏,要脅誣告他所作詩句有叛國之意,李益唯有答應婚事。另方面小玉誤會李益負情而悲極吐血,後得豪傑黃衫客之助與李益重聚,二人冰釋前嫌。惜李益被太尉手下強搶回府成親,黃衫客命小玉闖府爭夫。黃衫客即當朝四王爺,他秉公行事,罷免盧太尉,小玉李益最終團圓。

 

Speakers   講者簡介

Ms. Lee Meiyin’s areas of research include the history, art and costumes of the ethnic minorities of China, Buddhist art, Dunhuang art, silk and embroideries. She previously served as HKUSPACE guest lecturer (2000-2010), as well as a member of the Intangible Cultural Heritage Advisory Committee. She is currently a specially appointed research fellow of Dunhuang Academy, and Vice President of the Friends of Dunhuang (Hong Kong). She also serves on the Board of Dunhuang Grottoes Preservation and Research Foundation of China, and as an expert advisor to the public museums of Hong Kong.

李美賢女士的研究範圍包括中國少數民族(民族史與服飾)、佛像藝術、敦煌藝術、絲綢與刺繡(歷史與賞析)。曾任香港大學專業進修學院導師(2000-2010),香港非物質文化遺產諮詢委員會委員。現任敦煌研究院特聘研究員、香港敦煌之友副主席,也是中國敦煌石窟保護研究基金會理事、香港博物館之專家顧問。

Dr. Irene Tsang obtained her MA and PhD in art and archaeology from the School of Oriental and African Studies, University of London. After completing her doctoral degree, she taught Chinese culture and art history in City University of Hong Kong and Hong Kong Polytechnic University. Later on, she joined HKU SPACE and held the position of Programme Director of Art and Design, devoting efforts to promoting art and culture through continuous education.

Dr. Tsang’s research interests include Chinese theatre history and ancient Chinese performing arts. She has been a fan of Chinese xiqu since early age, and is still practicing Cantonese opera singing as a hobby.

曾舜寧博士在英國倫敦大學亞非學院 (SOAS) 取得碩士與博士學位,主修考古學與藝術史。畢業後,曾博士在香港城市大學及香港理工大學任教,教授中國文化和藝術史等課程。随後她加入香港大學專業進修學院,擔任藝術及設計科課程主任,致力透過持續教育推廣文化與藝術。

曾博士的研究興趣包括中國戲劇史及中國古代的表演藝術。她從小便熱愛中國戲曲,至今仍不時操練粤曲以娛己。

 

Performer 

Born in New York from a family of Cantonese opera heritage and a graduate from Wellesley College, Li Pui-yan has been taught by numerous famed Cantonese opera performers.  Since her debut as principal actress in Floral Princess (Youth Edition) in 2007, she has performed for the Hong Kong Arts Festival, Chinese Opera Festival, Macau Arts Festival as well as the benefit inaugural performance at ASHK’s Miller Theatre.  Her repertoire ranges from classics to new productions such as Deling and the Empress Dowager Ci Xi and Arrant Revenge, and adaption of Shakespeare’s Hamlet.  Recently, through working with artists from other disciplines, such as Ming Wong and Mariko Mori, she is inspired to further explore the cross-disciplinary potential of this traditional art form.  Aside from performing, Li is devoted to the English translation of Cantonese opera librettos and has served on the Cantonese Opera Advisory Committee in Hong Kong for various terms.

Cantonese Opera Appreciation Series: Lecture II: “The Tale of the Purple Hairpin – A Glimpse of the Allure of Chang’an during the Tang Dynasty” 《紫釵記》看唐代長安文化

Originating from Southern China’s Guangdong province, Cantonese opera represents a significant part of Chinese opera.  It is a traditional Chinese art form which incorporates stories drawn from Chinese history and iconic Chinese classics and myths.  Being a multi-disciplinary art form, Cantonese opera often involves music, singing, martial arts, acrobatics, and acting. 

Further, the philosophies and culture of the Chinese people are infused in the plays, often reflecting virtues such as loyalty, love, patriotism and faithfulness.

To help its appreciation, the HKU Museum Society is pleased to present the second installment of the Cantonese Opera Appreciation Series of lecture, backstage visit and performance for The Tale of the Purple Hairpin《紫釵記》.

The lecture is given by two experts in history, arts and culture, Ms. Lee Meiyin & Dr. Irene Tsang. Performing artist 李沛妍Ms. Li-Pui-yan, will be at the lectures to add perspective as the leading lady.

We will visit theatre backstage lead by a trained docent who speak both English & Chinese to see Performing artist李沛妍Ms. Li-Pui-yan dressed and make-up for her female role in the Cantonese Opera performance.  The performance will be in Cantonese with Chinese and English subtitles.

 

Synopsis

《紫釵記》

長安才子李益與霍小玉互相傾慕,一夜元宵佳節,霍小玉遺下紫釵被李益拾獲,霍老夫人為李益真誠所動,許二人當夜成婚,李益更為小玉以血書盟心之句。李益高中進士,未能即時拜謁盧太尉,後被逼參軍塞外。盧太尉從中作梗,致令李益三年間音訊全無。小玉染上重病,靠典賣首飾度日。此時太尉召李益回長安,欲強招他為婿。恰巧小玉典賣紫玉釵,李益誤會她改嫁,仍堅決吞釵拒婚。太尉怒不可遏,要脅誣告他所作詩句有叛國之意,李益唯有答應婚事。另方面小玉誤會李益負情而悲極吐血,後得豪傑黃衫客之助與李益重聚,二人冰釋前嫌。惜李益被太尉手下強搶回府成親,黃衫客命小玉闖府爭夫。黃衫客即當朝四王爺,他秉公行事,罷免盧太尉,小玉李益最終團圓。

“Tale of the Purple Hairpin”

On the night of Lantern Festival, a talented young man from Chang’an, Li Yi, recovers a purple hairpin that has been dropped by Xiaoyu, the woman of his dreams. Moved by his sincerity, Xiaoyu ‘s mother agrees for the two to get married on that very night. Li then seals the vow of eternal love to her in blood letters.

Although he has passed the imperial examination, Li is appointed to a position beyond the Great Walls after failing to pay homage to Lu, a senior official in charge of military affairs. Lu sees to it that nothing should be heard from Li for three years, during which Xiaoyu falls gravely ill and lives by pawning her jewelry.

Lu summons Li back to Chang’an with the intention of forcing the young man to marry his daughter. Lu further procures the purple hairpin pawned by Xiaoyu and shows it to Li as proof that his wife has remarried. Li is convinced, but he showed his determination and objected strongly to the marriage proposal. Infuriated, Lu threatens to accuse Li of expressing treacherous ideas in his poems, leaving him no choice but to comply. Upon hearing her husband has betrayed her, Xiaoyu spews out blood.

With the help of “Yellow Gown”, a chevalier in charge of military affairs, Xiaoyu reunites with Li, clearing up all misunderstandings. When Lu has his men take Li to his house by force, “Yellow Gown” orders Xiaoyu to break into the house to claim her husband. It turns out that the yellow–gowned chevalier is the emperor’s brother. The chevalier deposes Lu in the name of justice. Xiaoyu and Li Yi are finally reunited.

 

Speakers   講者簡介

Ms. Lee Meiyin’s areas of research include the history, art and costumes of the ethnic minorities of China, Buddhist art, Dunhuang art, silk and embroideries. She previously served as HKUSPACE guest lecturer (2000-2010), as well as a member of the Intangible Cultural Heritage Advisory Committee. She is currently a specially appointed research fellow of Dunhuang Academy, and Vice President of the Friends of Dunhuang (Hong Kong). She also serves on the Board of Dunhuang Grottoes Preservation and Research Foundation of China, and as an expert advisor to the public museums of Hong Kong.

李美賢女士的研究範圍包括中國少數民族(民族史與服飾)、佛像藝術、敦煌藝術、絲綢與刺繡(歷史與賞析)。曾任香港大學專業進修學院導師(2000-2010),香港非物質文化遺產諮詢委員會委員。現任敦煌研究院特聘研究員、香港敦煌之友副主席,也是中國敦煌石窟保護研究基金會理事、香港博物館之專家顧問。

Dr. Irene Tsang obtained her MA and PhD in art and archaeology from the School of Oriental and African Studies, University of London. After completing her doctoral degree, she taught Chinese culture and art history in City University of Hong Kong and Hong Kong Polytechnic University. Later on, she joined HKU SPACE and held the position of Programme Director of Art and Design, devoting efforts to promoting art and culture through continuous education.

Dr. Tsang’s research interests include Chinese theatre history and ancient Chinese performing arts. She has been a fan of Chinese xiqu since early age, and is still practicing Cantonese opera singing as a hobby.

曾舜寧博士在英國倫敦大學亞非學院 (SOAS) 取得碩士與博士學位,主修考古學與藝術史。畢業後,曾博士在香港城市大學及香港理工大學任教,教授中國文化和藝術史等課程。随後她加入香港大學專業進修學院,擔任藝術及設計科課程主任,致力透過持續教育推廣文化與藝術。

曾博士的研究興趣包括中國戲劇史及中國古代的表演藝術。她從小便熱愛中國戲曲,至今仍不時操練粤曲以娛己。

 

Performer

Born in New York from a family of Cantonese opera heritage and a graduate from Wellesley College, Li Pui-yan has been taught by numerous famed Cantonese opera performers.  Since her debut as principal actress in Floral Princess (Youth Edition) in 2007, she has performed for the Hong Kong Arts Festival, Chinese Opera Festival, Macau Arts Festival as well as the benefit inaugural performance at ASHK’s Miller Theatre.  Her repertoire ranges from classics to new productions such as Deling and the Empress Dowager Ci Xi and Arrant Revenge, and adaption of Shakespeare’s Hamlet.  Recently, through working with artists from other disciplines, such as Ming Wong and Mariko Mori, she is inspired to further explore the cross-disciplinary potential of this traditional art form.  Aside from performing, Li is devoted to the English translation of Cantonese opera librettos and has served on the Cantonese Opera Advisory Committee in Hong Kong for various terms.

Guided viewing: “Nothin’ Like the Taste of Print” at Hanart TZ Gallery & “The Tsunami of Butterfly” at KC100 Art Space

The HKU Museum Society is pleased to present two guided viewings at the Hanart TZ Gallery and KC100 Art Space. The first exhibition Nothin’ Like the Taste of Print at the Hanart TZ Gallery will be guided by one of the exhibiting artist Michelle Fung. The second exhibition Alfred Cheng Solo Exhibition The Tsunami of Butterfly at KC100 Art Space will be guided by the artist Alfred Cheng and the art director at KC100 Art Space.

Nothin’ Like the Taste of Print

Hanart TZ Gallery, in collaboration with MablePrintClay, presents the group exhibition “Nothin’ Like the Taste of Print”, shining a light on 21 up-and-coming Hong Kong printmakers. There will be over 80 artworks in this exhibition, providing a rich ground for exploration of the aesthetic appeal and technical richness of fine art prints. Founded in 2014, MarblePrintClay now serves as a hub for the local printmaking art scene, and is dedicated to nurturing younger printmakers by organising workshops and offering professional artistic support.

About Michelle Fung

Hong Kong Canadian interdisciplinary artist Michelle Fung’s lifelong interdisciplinary oeuvre revolves around a grand dystopian world-building narrative in year 2084. Her works have been presented extensively in international museum, gallery and university exhibitions and film festivals.

 

The Tsunami of Butterfly

KC100 Art Space introduces the latest solo exhibition of Hong Kong based thread artist, Alfred Cheng – “The Tsunami of Butterfly” – using one simple line to link up the relationship between courage and destiny; connecting the striking transformation of butterflies with those who may be lost. “Even if you’re in the midst of a difficult time, keep in mind that you were once a butterfly, coming out of a cocoon, in pursuit of transformation.”

Guided viewing: “Angels from Infinity – Sculptures by Chi Wing Lo” at Kwai Fung Salone & “The Lost of Human Face?” at Villepin Gallery

The HKU Museum Society is pleased to present two guided viewings at the Kwai Fung Salone and the Villepin Gallery. The first exhibition ANGELS FROM INFINITY – Sculptures by Chi Wing Lo will be guided by Marian Ang, Head of Research at the Kwai Fung Salone. The second exhibition The Loss of Human Face? will be guided by Arthur de Villepin, owner of the Villepin Gallery.

 ANGELS FROM INFINITY – Sculptures by Chi Wing Lo
Kwai Fung Salone is pleased to present its inaugural exhibition,ANGELS FROM INFINITY – Sculptures by Chi Wing Lo. Chi Wing Lo left Hong Kong more than forty years ago, and now he returns home to share with us his perception of aesthetics, life and civilisation as reflected in this collection of fascinating sculptures. These enchanting works are inspired by his spiritual models whom he calls “angels”, who have guided and accompanied him since his childhood in a small fishing village in east Hong Kong.

The Loss of Human Face?
Throughout art history, from the works of Rembrandt to Modigliani, Van Gogh and Freud, the human face has long been both a source of attraction and repulsion, an expression of humanity and fraternity but also portrayed with primitive violence and savagery. Across all its figurative and abstract representations, the portrait has been used as a mirror to the world.

Igniting a conversation between the past and the present, The Loss of Human Face? explores the significance of human faces as seen through these five artists Francis Bacon, Adrian Ghenie, Zeng Fanzhi, George Condo, and Yukimasa Ida. Showcasing twenty major works in a transformed gallery space, visitors will be confronted with the bold canvases of these artists displayed in dialogue with each other.

2022 Annual General Meeting

The Twelfth Annual General Meeting of The University of Hong Kong Museum Society Limited initially scheduled to be held on Tuesday, 28 June 2022 at The Hong Kong Club will be changed to Drake Gallery, 1/F, Fung Ping Shan Building, University Museum & Art Gallery, University of Hong Kong, Pokfulam Road, Hong Kong.  Registration will start at 5:45 p.m.  Due to the unforeseen situation of the COVID-19 pandemic, we regret this year’s AGM will not be held concurrently with a lecture and dinner.

AGM notice and agenda

Reply Slip

Cantonese Opera Appreciation Series: Lecture I: “The fate of Princess Changping – History vs. Drama”(帝女如花 – 談歷史與戲劇中的長平公主) at UMAG, HKU

Originating from Southern China’s Guangdong province, Cantonese opera represents a significant part of Chinese opera.  It is a traditional Chinese art form which incorporates stories drawn from Chinese history and iconic Chinese classics and myths.  Being a multi-disciplinary art form, Cantonese opera often involves music, singing, martial arts, acrobatics, and acting. 

Further, the philosophies and culture of the Chinese people are infused in the plays, often reflecting virtues such as loyalty, love, patriotism and faithfulness.

To help its appreciation, the HKU Museum Society is pleased to organize a series of lectures and backstage visits prior to attending the following Cantonese Opera performances: 

I         The Floral Princess《帝女花》 (Jun 16)

II        The Tale of the Purple Hairpin《紫釵記》 (Jul 24)

The lectures are given by two experts in history, arts and culture, Ms. Lee Meiyin & Dr. Irene Tsang. Performing artist 李沛妍Ms. Li-Pui-yan, will be at the lectures to add perspective as the leading lady.

Note: The date for Lecture II: “The Tale of the Purple Hairpin – A Glimpse of the Allure of Chang’an during the Tang Dynasty” is to be announced.

We will visit theatre backstage to see Performing artist李沛妍Ms. Li-Pui-yan dressed and make-up for her female role in the Cantonese Opera performance.  The performance will be in Cantonese with Chinese and English subtitles.

 

Speakers   講者簡介

Ms. Lee Meiyin’s areas of research include the history, art and costumes of the ethnic minorities of China, Buddhist art, Dunhuang art, silk and embroideries. She previously served as HKUSPACE guest lecturer (2000-2010), as well as a member of the Intangible Cultural Heritage Advisory Committee. She is currently a specially appointed research fellow of Dunhuang Academy, and Vice President of the Friends of Dunhuang (Hong Kong). She also serves on the Board of Dunhuang Grottoes Preservation and Research Foundation of China, and as an expert advisor to the public museums of Hong Kong.

李美賢女士的研究範圍包括中國少數民族(民族史與服飾)、佛像藝術、敦煌藝術、絲綢與刺繡(歷史與賞析)。曾任香港大學專業進修學院導師(2000-2010),香港非物質文化遺產諮詢委員會委員。現任敦煌研究院特聘研究員、香港敦煌之友副主席,也是中國敦煌石窟保護研究基金會理事、香港博物館之專家顧問

Dr. Irene Tsang obtained her MA and PhD in art and archaeology from the School of Oriental and African Studies, University of London. After completing her doctoral degree, she taught Chinese culture and art history in City University of Hong Kong and Hong Kong Polytechnic University. Later on, she joined HKU SPACE and held the position of Programme Director of Art and Design, devoting efforts to promoting art and culture through continuous education.

Dr. Tsang’s research interests include Chinese theatre history and ancient Chinese performing arts. She has been a fan of Chinese xiqu since early age, and is still practicing Cantonese opera singing as a hobby.

曾舜寧博士在英國倫敦大學亞非學院 (SOAS) 取得碩士與博士學位,主修考古學與藝術史。畢業後,曾博士在香港城市大學及香港理工大學任教,教授中國文化和藝術史等課程。随後她加入香港大學專業進修學院,擔任藝術及設計科課程主任,致力透過持續教育推廣文化與藝術。

曾博士的研究興趣包括中國戲劇史及中國古代的表演藝術。她從小便熱愛中國戲曲,至今仍不時操練粤曲以娛己。

 

Performer 

Born in New York from a family of Cantonese opera heritage and a graduate from Wellesley College, Li Pui-yan has been taught by numerous famed Cantonese opera performers.  Since her debut as principal actress in Floral Princess (Youth Edition) in 2007, she has performed for the Hong Kong Arts Festival, Chinese Opera Festival, Macau Arts Festival as well as the benefit inaugural performance at ASHK’s Miller Theatre.  Her repertoire ranges from classics to new productions such as Deling and the Empress Dowager Ci Xi and Arrant Revenge, and adaption of Shakespeare’s Hamlet.  Recently, through working with artists from other disciplines, such as Ming Wong and Mariko Mori, she is inspired to further explore the cross-disciplinary potential of this traditional art form.  Aside from performing, Li is devoted to the English translation of Cantonese opera librettos and has served on the Cantonese Opera Advisory Committee in Hong Kong for various terms.

 

Cantonese Opera Appreciation Series: Performance: “The Floral Princess” (Youth Edition)《帝女花》(青年版) at City Hall, Central

Originating from Southern China’s Guangdong province, Cantonese opera represents a significant part of Chinese opera.  It is a traditional Chinese art form which incorporates stories drawn from Chinese history and iconic Chinese classics and myths.  Being a multi-disciplinary art form, Cantonese opera often involves music, singing, martial arts, acrobatics, and acting. 

Further, the philosophies and culture of the Chinese people are infused in the plays, often reflecting virtues such as loyalty, love, patriotism and faithfulness.

To help its appreciation, the HKU Museum Society is pleased to organize a series of lectures and backstage visits prior to attending the following Cantonese Opera performances: 

I         The Floral Princess《帝女花》 (Jun 16)

II        The Tale of the Purple Hairpin《紫釵記》 (Jul 24)

The lectures are given by two experts in history, arts and culture, Ms. Lee Meiyin & Dr. Irene Tsang. Performing artist 李沛妍Ms. Li-Pui-yan, will be at the lectures to add perspective as the leading lady.

Note: The date for Lecture II: “The Tale of the Purple Hairpin – A Glimpse of the Allure of Chang’an during the Tang Dynasty” is to be announced.

We will visit theatre backstage to see Performing artist李沛妍Ms. Li-Pui-yan dressed and make-up for her female role in the Cantonese Opera performance.  The performance will be in Cantonese with Chinese and English subtitles.

 

Speakers   講者簡介

Ms. Lee Meiyin’s areas of research include the history, art and costumes of the ethnic minorities of China, Buddhist art, Dunhuang art, silk and embroideries. She previously served as HKUSPACE guest lecturer (2000-2010), as well as a member of the Intangible Cultural Heritage Advisory Committee. She is currently a specially appointed research fellow of Dunhuang Academy, and Vice President of the Friends of Dunhuang (Hong Kong). She also serves on the Board of Dunhuang Grottoes Preservation and Research Foundation of China, and as an expert advisor to the public museums of Hong Kong.

李美賢女士的研究範圍包括中國少數民族(民族史與服飾)、佛像藝術、敦煌藝術、絲綢與刺繡(歷史與賞析)。曾任香港大學專業進修學院導師(2000-2010),香港非物質文化遺產諮詢委員會委員。現任敦煌研究院特聘研究員、香港敦煌之友副主席,也是中國敦煌石窟保護研究基金會理事、香港博物館之專家顧問。

Dr. Irene Tsang obtained her MA and PhD in art and archaeology from the School of Oriental and African Studies, University of London. After completing her doctoral degree, she taught Chinese culture and art history in City University of Hong Kong and Hong Kong Polytechnic University. Later on, she joined HKU SPACE and held the position of Programme Director of Art and Design, devoting efforts to promoting art and culture through continuous education.

Dr. Tsang’s research interests include Chinese theatre history and ancient Chinese performing arts. She has been a fan of Chinese xiqu since early age, and is still practicing Cantonese opera singing as a hobby.

曾舜寧博士在英國倫敦大學亞非學院 (SOAS) 取得碩士與博士學位,主修考古學與藝術史。畢業後,曾博士在香港城市大學及香港理工大學任教,教授中國文化和藝術史等課程。随後她加入香港大學專業進修學院,擔任藝術及設計科課程主任,致力透過持續教育推廣文化與藝術。

曾博士的研究興趣包括中國戲劇史及中國古代的表演藝術。她從小便熱愛中國戲曲,至今仍不時操練粤曲以娛己。

 

Performer 

Born in New York from a family of Cantonese opera heritage and a graduate from Wellesley College, Li Pui-yan has been taught by numerous famed Cantonese opera performers.  Since her debut as principal actress in Floral Princess (Youth Edition) in 2007, she has performed for the Hong Kong Arts Festival, Chinese Opera Festival, Macau Arts Festival as well as the benefit inaugural performance at ASHK’s Miller Theatre.  Her repertoire ranges from classics to new productions such as Deling and the Empress Dowager Ci Xi and Arrant Revenge, and adaption of Shakespeare’s Hamlet.  Recently, through working with artists from other disciplines, such as Ming Wong and Mariko Mori, she is inspired to further explore the cross-disciplinary potential of this traditional art form.  Aside from performing, Li is devoted to the English translation of Cantonese opera librettos and has served on the Cantonese Opera Advisory Committee in Hong Kong for various terms.

Guided Gallery Visit: “Recovery, Resilience, Resurgence” at Asia Society

Join us on a special gallery tour led by Joyce Ng, Head of Gallery and Exhibitions at Asia Society.

Asia Society Hong Kong Center’s current exhibition, Recovery, Resilience, Resurgence, showcases photos of old Hong Kong. The images span some thirty years of great change: from the postwar recovery in 1946 – 1947, through the resilience of the 1950s, to the resurgence of the 1960s – 1970s. These historical photographs were taken by three photographers, Hedda Morrison, Lee Fook Chee, and Brian Brake. Each had markedly different life backgrounds and photographic objectives.

Furthermore, in 2022 Asia Society celebrates a decade of guardianship of the heritage site in Admiralty. Since 2012, Asia Society has hosted a variety of arts and culture, business and policy programming and exhibitions for the community. 

More information about Asia Society’s photography exhibition can be found here:
https://asiasociety.org/hong-kong/exhibitions/recovery-resilience-resurgence-fusushengxinizhongqiucunzhongzhenqigu

Guided viewing of two exhibitions at H Queen’s: William Lim: “Willows Dark Flowers Bright” & Woo Kukwon: “Carnival” at Tang Contemporary Art

The HKU Museum Society is pleased to present two guided viewings at the H Queen’s. The first exhibition “Willows Dark Flowers Bright” will be personally guided by William Lim, the artist himself. The second exhibition Woo Kukwon Solo Exhibition will be guided by Charlotte Lin, a specialist at the Tang Contemporary Gallery.

William Lim: “Willows Dark Flowers Bright”

The title of the exhibition comes from a Song Dynasty Chinese poem that alludes to the serendipities experienced in life. During the lockdown, the artist develops a strong respect for the strength and resilience of plants. It has inspired him to tell stories through his paintings, which are both real and expressionistic. He records through his paintings the reality around him, and the voyages in his imagination. As we slowly come out of the fifth wave of the pandemic, his paintings are starting to project a brighter future.

Woo Kukwon Solo Exhibition

The exhibition begins at the Garden of Eden with humans portrayed in their purest state. Before mankind tasted the forbidden fruit (of good and evil), they were as innocent as babies sleeping in their cradle. However, it is a rite of passage for a person to break away from innocence and face the rough and rugged paths of life in order to grow and build their own world. Such turning points have been presented in countless stories in various forms. Here, the artist adopts the Flood myth depicted in the Old Testament to develop a theme that moves through the entire exhibition.

Artist Talk with Chun Wai (Conducted in Cantonese) & guided visit to “Adrift in Time – Photography by Chun Wai”

This exhibition presents the artistic work of Chun Wai created in France in the 1980s-1990s. Adrift in Time—Photography by Chun Wai displays a photographic record of the past and the passing of time. Born in Hong Kong and educated at the École supérieure des beaux-arts de Mulhouse in France, photographer Chun Wai toured Europe on a quest for the beginning of time, understanding that everything he photographed had a finite start and end.

This physical and philosophical journey caused the artist to realise that his insights into the relationship suspended between predestination and chance were leading to an expansive form of loneliness—a state he felt was similar to the torment experienced by the ancient Chinese poets. Chun wandered the streets and alleys of great cultural centres like Paris discovering the collections of its great museums, art galleries and flea markets, along with the vast memories contained within, preserved and passed on through the course of time.

For thirty years, Chun kept his images of France stored away in a box, as if preserving these treasured memories in a corner of time; a souvenir from which he can now extract memories. Since the ’90s, some of the negatives have deteriorated to the point that the original images are no longer recognisable. They have become tangible illustrations of the passing of time, while the artist’s memories reactivate his endless associations. Whereas it has been said that photography freezes time, Chun’s images and their varying states of damage attest to the flood of time. The reading of these images now leads to another journey, crossing the boundary between memory and forgetting, towards the subsequent truth of chaos.

時間的漫遊  秦偉攝影

此展覽為秦偉1980-1990年代於法國的藝術創作之結集。「時間的漫遊––秦偉攝影」展示了一組關於回溯過去及時間流逝的圖片記載。秦偉生於香港,畢業於法國米盧斯高等藝術學院。他曾遊歷歐洲,尋索時間的起源,領略所攝之事物,皆有定時,有始有終。透過這趟旅程,秦偉深悟人生乃在宿命與偶遇之間,頓感中國古代詩人飄泊孤寂之感。他遊走於文化之都––巴黎,穿梭於街巷、博物館、美術館和跳蚤市場,浪遊於浩瀚的記憶和時間的長河。

三十年來,秦偉將法國的影像儲於一個盒子內,猶如把珍藏的記憶存於時間長河一隅。相片如紀念品般,可從之擷取記憶。因相片攝於90年代,部分底片已破損,原圖已無法辨識,成為可觸及的流逝時間,亦同時激活藝術家的記憶,誘發他無盡的聯想。有說攝影可凝住時間,而秦偉的相片所受的各種破損,便是時間洪流的見證。現在來重溫昔日影像就如開展另一趟旅程,跨越記憶與遺忘的邊界, 步向混沌的本相。