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In
the Eyes of the Culturati
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Few
Hong Kong artists are known to the world. Van Lau is
one of the rare. Even fewer devote their effort in promoting
Chinese culture. Van Lau has been the Chairman of the
Hong Kong Institute for Promotion of Chinese Culture
for 11 years. Before 1997, he has already put forward
his ideas of 'culture return' and acted on it. From
there we can see his vision towards culture and his
deep passion for Hong Kong and the Chinese race.
"Without
culture return, Hong Kong's return of sovereignty to
China cannot be stable and longlasting."
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Q:
As an artist why do you choose to work for the Hong Kong Institute
for Promotion of Chinese Culture?
A:
This has to do with my background. I was an overseas Chinese
living under other people's roof and under discrimination.
Under my father's influence I became deeply conscious of our
country. Since the 60's I have become actively involved in
cultural activities and, with deep passion towards our country,
I participated in the Dao Yu Tai campaign in the 70's. It
is my enthusiasm towards culture and the sense of mission
in promoting culture that make me take up the position of
the Chairman of the Institute.
Q:
Art exhibits freedom of expression. You are an artist but
have a mission in promoting culture. Doesn't it sounds like
a paradox? How do your strike a balance?
A:
Creation is personal. It needs only ideals and beliefs. Promoting
culture needs persuasion and compromise. There is indeed a
contradition. However, my art is based on Chinese culture.
In the past eleven years, I experienced both the sweets and
sour in promoting culture. Sweet because I got the opportunity
to realize my ideals; sour because I could not realize them.
I feel disappointed towards the cultural activities and programs
since the return and am frustrated because I myself cannot
do much on it.
Q:
How do you describe yourself under the duo role in art creation
and cultural promotion?
A:
I am a professional artist. Cultural promotion seconds to
it. I never give up my art creations. My past years in promoting
culture has indeed scratched away much time and efforts at
the expense of my art creations. But I want to let others
share my views and ideas, which I have taken from the society
and would like to give back. So although promoting culture
takes away my time, I am happy to do it and never regret.
However, in Hong Kong, ideals is one thing and the world is
another, same as bringing up children, you will feel a bit
disappointed if they do not grow up to your expectation.
Q:
As an artist and one experienced in promoting culture, what
do you think of Hong Kong's cultural development?
A:
A society with high cultural and academic level can never
depend on pop culture. It must have advanced creative culture.
Hong Kong does not have any arts and cultural policy. It is
not until the 90's that there has been some development. But
it is still in the infant stage. Culture is a complex concept
here. One may refer to Chinese culture; another may refer
to Western culture or see it as a Chinese-western fusion.
How can one properly define it? Take literary writing as an
example. Our Chinese and English standards are poor. If we
promte pluralistic culture, we will easily fall into the trap
of a collage culture getting us nowhere.
Q:
Before Hong Kong returned to China, you put forward a concept
of cultural return. Now Hong Kong has returned, what is the
status now?
A:
Cultural return is a concept ahead of time, but difficult
to achieve. It involves two levels: a realistic level including
economics and politics, which is not difficult to achieve;
what is difficult is the psychological level, which involves
society's consensus on values and thoughts. Hong Kong has
over 150 years of colonial history. People grow and develop
themselves in the influence of Western culture. It is impossible
to put down Western ideas and switch to Chinese culture in
a day. To achieve cultural return, the government must appreciate
the problem and involve professionals in research. However,
the government has done little. "One Country Two System" is
a genius concept that requires the " Two System" to be tied
in with common threads to become "One Country". The common
threads are values towards our race's culture. Without consensus,
communication and understanding in the society, the cultural
problem in Hong Kong will become acute. In the worst it might
result in diverse non-Chinese cultural values.
Q:
You said Hong Kong does not share a common view towards our
culture. What is your view on Chinese culture?
A:
I am a down right nationalist and have faith on Chinese culture.
I will never do anything against the Country. In the bottom
of my heart I believe we have superb cultural heritages. Cultural
heritages from thousand years of creation, fusion and distillation
of various cultures. It is a world wonder in cultural history.
Q:
What are your new plans after leaving the Hong Kong Institute
for Promotion of Chinese Culture?
A:
I have decided to go to Beijing in search for a breakthrough
in my art creation and cultural promotion works. I am lecturing
on modern art in the Beijing Principal of Central Academy
of Fine Arts. I have designed a syllabus that includes art
development from Chinese socialism, realism to modernism,
as well as the modernism of traditional Chinese art. If it
works, it can be promoted to the whole country. I will continue
to work on art and will not abandon my mission on culture.
"Culturati"
reports
Afterthought:
Van Lau is firm in his ideas. He speaks his mind directly,
telling us his deep belief in nationalismand his attitude
towards life. He does not avoid his political attitudes and
freely expresses his deep disappointment on the cultural development
in Hong Kong. When he realizes his own efforts cannot reshape
the reality, he does not give up. He decided to fly to Beijing
to continue his mission in promoting Chinese culture.
N.B.
The mentioned 'cultural return' concept is extracted from
Van Lau, "The concept of cultural return and it's realization
in Hong Kong" (1996) Interested
parties can fax to : (852) 26031808, the Van Lau Workshop
for information.
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The
Hexi Corridor - an important link on the ancient Silk Road
The
Silk Road has been the principal communication link between
ancient China and the West. The Hexi corridor, lies in between
the plateaus of Mongolian and Qingzang, is an important link
of the Silk Road. It held the stage of military, economic,
political and cultural development in the imperial eras, witnessing
the rise and fall of powers. Today the Corridor is still of
strategic importance.
The
Hexi Corridor runs from Wushao Mountains in the east to the
oasis of Dunhuang in the west. It is the only way from inland
China to the west. To its south lies the rolling snow-bound
Qilian Mountains. To its north are the Heli and Longshou mountain
ranges. Away from the mountains is the desert. The Corridor
is a narrow flat strip of land extending more than 1,200 kilometres
long, at its broadest about 200 kilometres wide and at its
narrowest only 15 kilometres. It shapes like a natural corridor,
and lies at the west of the Yellow River, so is called the
Hexi Corridor.
There
are four oases scattered on the Hexi Corridor. Out there is
the endless Gobi Desert. Hardly any grass and footprint, the
desert is cool and deserted. Whereas the oases are rich woodlands
flow with streams. From desert to oases, from oases to desert,
the journey paints the unique landscape of the Corridor.
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Trade
brings in cultural development
The
Hexi Corridor was once a multinational area with inhabitants
from many ethnic groups, including the Han, Di, Yue-Chi, Xiangnu,
Mongol and Xianbei. The Silk Road opened up the gateway of
trade and cultural exchange between China and the west, creating
a diverse township filled with diplomatic officers, foreign
merchants and priests. The interchange of ideas and new merchandise
coincided with the spread of Buddhism arriving from the west,
eventually filtered into the heartland of China, flourishing
the development of art, religion and science. The Hexi Corridor
thus has significant contribution to the development of human
civilization.
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Agricultrue
and ranching breeds prosperity
The
Hexi Corridor is a low-lying flat land with alternate deserts
and oases. The all year round melted snow form the Qilian
Mountains in its south moistens the Corridor and flourishes
agriculture and ranching in the oasis. With its rich natural
resources and government encouragement in cultivation and
irrigation, the area reap golden harvest. Zhangye and Wuwei
has been known as the country's barns. Upper River Shandan
has large grasslands which facilitated horse breeding for
imperial use since the Han Dynasty. During the Sui and Tang
Dynasties, over hundred thousand horses earmarked for post,
war or state service grazed here, contributing to the country's
military strength.
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Target
for scramble
With
such strategic importance of position and rich natural resources,
it is no accident that the Hexi Corridor became the target
for scrable of different races. Emperors from era to era were
concerned with the security and stability of the area. Various
fortress were built. After Qin united the country the fortress
became part of the Great Wall, fending off the Xiongnu. During
the Han Dynasty, two important fortifications, the Yangguan
at the south of Dunhuang, and the Yumen Pass at the northwest
of Dunhuang were constructed. They formed, together with the
Great Wall, a complete system of defense. They were important
passageways on the Silk Road to go to Central Asia, India
and Europe. In the eras to follow, the Corridor became war
zone again and again. The Jiayuguan Pass, the western terminus
of the Great Wall, was built for defeated the last of Yuan
armies to keep the Mongols out beyond the Great Wall. The
rise and fall of powers is indivisible with the control of
the Corridor.
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General
Huo fighting away the Xiongnu (Hun)
The
Hexi Corridor has a long glorious history. There are numerous
heroic events in its memory. One features the Western Han
military general Huo Qu-Bing, who fought away the Xiongnu
and opened the Hexi Corridor. His victory earned him a name
in history.
In
124BC, Xiongnu invaded the area of Hebei and northern Shanxi.
The next year, Han emperor Wudi declared war. General Huo
Qu-Bing led a troop of 800 to fight away the Xiongnu. Only
one battle was needed and he won. He was then only eighteen
years old. In 121BC Emperor Wudi declared the Hexi war, and
again appointed the 20-year-old Huo to fight away the Xiongnu
who hung about the Hexi Corridor. Again he won a brilliant
battle. The defeated Xiongnu surrendered and back off to the
desert in the north. The Hexi Corridor became under the control
of the Han empire. Emperor Wudi set up four prefectures of
Wuwei, Zhangye, Jiuquan and Dunhuang and established two passes
of defence at Yangguan and Yumen in the Hexi Corridor in 111B.C.
Since then, the Hexi Corridor became part of the Western Han
empire. The way to the west is opened.
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Unique
cultural heritages
Bronze
Flying Horse
Wuwei
leapt to fame with the discovery of the national treasure
'Bronze Flying Horse' dating from the Eastern Han period at
the Leitai Tomb in 1969. The roaring horse is finely shaped
in a galloping posture with one hoof treading on the back
of a swallow. The posture is unique and carefully balanced
according to dynamics. It is believed to be a portrayal of
the "heavenly steed" of Chinese legend. It is of high craftsmanship,
fully expressive of the horse-breeding culture of China's
West.
Night
Glowing cup
Lianghou
Ci' (The song of Liangzhou) by the Tang poet, Wang Han is
a famous song about the boundary. The
'Night Glowing Cup' mentioned in the ballad is from Jiuquan.
Legend has that the cups were made from some rare jade tributed
from the west, which glowed when filled with wine and placed
in the moonlight. The cups produced in Jiuquan are now made
of black and green Qilian jade in ancient style. They are
elegant wine cups.
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The
Hexi Corridor - A route to the glorious silk road history
Wuwei
lies at the far east of the Corridor. It is the first oasis
the Silk Road passed through on its westward journey along
the Corridor. Wuwei has military importance as "the thread
to the desert, the link of five counties". In the era of the
sixteen countries four out of the five Liangs all set up their
capitals there. That is why it was called Liangzhou. Wuwei,
known as the country's barn, is rich in agriculture and a
famous horse-ranch for imperial use since the Han dynasty.
The world renowned 'Bronze Flying Horse' of the Eastern Han
period was unearthed at Leitai on the northern outskirts of
Wuwei.
Zhangye
known as Ganzhou in ancient times is located in the middle
part of the Corridor. It is the meeting point of the east-west
(inland to the west) and north-south (Qinghai, Xiling to Mongolia)
main roads. It was once a commercial market town in Sui and
Tang periods. Marco Polo had lived in Zhangye for a whole
year. Because of its rich natural resources and developed
agriculture and ranching, it is called Golden Zhangye. Major
scenic spots include the Giant Buddha Temple, Longevity Temple,
the Great Wall of Han and Ming dynasties and beacon towers.
Jiuquan,
was the first town encountered 'within the wall' by eastbound
travelers and is located 20 kilometres from the Jiayuguan
Pass of the Great Wall. Legend has that the Western Han general
Huo Qu-Bing was granted royal wine from Emperor Wudi after
he defeated the Xiongnu. Huo not wanting to have it on his
own, poured the wine into a spring to share with troop. It
was said the spring water then became wine and never dried
up. The spring was then called Jiuquan (meaning wine spring).
The town is named after it.
Dunhuang
lies at the far west of the Corridor. It is the first oasis
from the desert to the Hexi Corridor. Since the Han dynasty
it has become an important communication locus. Merchants
and priests all came around. Dunhuang is also the convergence
of eastern and western culture. Its Buddhist art heritages
is well renowned. The Mogao Caves which form a part of the
grotto art of Dunhunag, has been named valuable "World
Heritages".
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A
touch of ancient Dunhuang in silk scarves
The
elegant, ethereal and colourful Chinese silk, representing
the luxurious lifestyle of the royal family, is the symbol
of the cultural exchange between the East and West. Different
patterns on the ancient silk reflect the aesthetics, the custom
and lifestyles of different eras. The Chinese silk is indeed
a piece of art, expressive of the glory of the days.
The
Silk Road opened the glorious history of East meet West. Dunhuang,
being an important town on the ancient Silk Road, embodies
the essence of Buddhist art. Patterns of silk in the ancient
days are taken from the costume of Buddhist statues, attire
of they flying apsaras as well as decorative patterns in ceilings
and temples. These patterns are woven into variegated designs.
Since the discovery of the grotto art in Dunhuang in the early
nineteenth centuries, most of the motifs from the murals and
sculptures, are being widely adapted into the contemporary
living in Europe and Japan.
Dunhuang
grotto art is crystallized from cultures of China with the
West - a product of splendid handicrafts and wisdom. The decorative
motifs are quientessence of Chinese, Indian, Persian and Greek
art. Different painting styles, colouring and technique of
treatment of sculptures and murals in the grottoes reflect
the spirit, custom and cultures of different eras. Earlier
caves feature the floral and geometric patterns in early Northern
Wei style. The Dunhuang grotto art reached its zenith in Sui
and Tang Dynasties. Decorative patterns are shaped under the
influence of foreign cultures. The most obvious one includes
patterns of parallel lining of pearls mixed with wild animals,
which is from Persian art. Tang saw a new height in the development
of decorative patterns. Flower bouquets, intertwining vines,
cloud scrolls, birds and animals, being depicted in a luscious
palette of turquoise, jade, cinnabar, brick red and dark gold,
adds to its grandeur. After the Tang dynasty, Dunhuang grotto
art declined with the fall of the Silk Road. Patterns look
like woodprints emerged in the Five Dynasties, in simple folk
styles. Patterns of costumes in late Song became simple and
monotonous, which sharply contrasts the richness in the old
days.
Dunhuang
grotto art has not only written a brilliant page in the world's
history of art, it provides a rich resource of modern art
creations. The 'Bazaar' gift-shop has invited the Central
Academy of Arts and Design, Beijing to design a series of
silk scarves featuring the motifs of Dunhunag frescoes, to
share with you a touch of the undeniable attraction of 2000
years ago.
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