YAU Wing Fung
borns in Hong Kong, lives and works in Hong Kong.
Yau Wing Fung concentrates on "ink art" and focuses on researching spatial aesthetics of ink and the transition of ink spirit in current situation. Yau held solo exhibitions in recent years such as "All’s well, ends well.", "Looming Sceneries", "Transition Scene", "Roaming Vision in Mirage". His artworks have also been exhibited in different countries, including “Wu Bin: Ten Views of a Lingbi Stone” (Los Angeles County Museum of Art), “Art Basel” (Hong Kong Convention and Exhibition Centre), "Chinese Contemporary Ink" (Christie's Auction), “Ink Asia” (Hong Kong Convention and Exhibition Centre), "Art Taipei" (Taipei World Trade Center) and so on. His artworks have been garnered by Los Angeles County Museum of Art, Hong Kong Museum of Art, M+, public organizations and private collections.
Yau received his Master’s degree in Fine Arts and Bachelor's degree in Fine Arts (First Class Honours) from The Chinese University of Hong Kong. Yau is currently a Ph.D. candidate in History of Chinese Art at CUHK. He is also a Guest Lecturer from the Education of University of Hong Kong, a Programme Coordinator and Instructor of Chinese Art from Hong Kong Visual Art Centre as well as Instructor from SCS, CUHK. He was a part time lecturer from Academy of Visual Arts, Baptist University of Hong Kong.
__________
邱榮豐
生於香港，現居住及工作於香港。
邱榮豐專注於「水墨」的研究和創作，主要探討水墨的空間美學及精神於當代語境的變遷。邱氏近年曾舉辦 "All’s well, ends well."、《若境》、《渡景》、《蜃遊》等個人展覽；亦多次參與各地展覽，包括《吳彬：十面靈壁圖》（美國洛杉磯郡立美術館）、《巴塞爾藝術展》（香港會議展覽中心）、《中國當代水墨》佳士得拍賣、《水墨藝博》（香港會議展覽中心）、《台北國際藝術博覽會》（台北世界貿易中心展覽大樓）等。邱氏的作品獲洛杉磯郡藝術博物館、香港藝術館、M+、公共機構及私人等收藏。
邱氏獲香港中文大學藝術系文學士（一級榮譽）及藝術碩士，現為該校哲學博士（藝術史）侯選人、香港教育大學客席講師、香港視覺藝術中心中國藝術課程統籌導師及香港中文大學專業進修學院兼任導師，曾任香港浸會大學視覺藝術學院兼任講師。
borns in Hong Kong, lives and works in Hong Kong.
Yau Wing Fung concentrates on "ink art" and focuses on researching spatial aesthetics of ink and the transition of ink spirit in current situation. Yau held solo exhibitions in recent years such as "All’s well, ends well.", "Looming Sceneries", "Transition Scene", "Roaming Vision in Mirage". His artworks have also been exhibited in different countries, including “Wu Bin: Ten Views of a Lingbi Stone” (Los Angeles County Museum of Art), “Art Basel” (Hong Kong Convention and Exhibition Centre), "Chinese Contemporary Ink" (Christie's Auction), “Ink Asia” (Hong Kong Convention and Exhibition Centre), "Art Taipei" (Taipei World Trade Center) and so on. His artworks have been garnered by Los Angeles County Museum of Art, Hong Kong Museum of Art, M+, public organizations and private collections.
Yau received his Master’s degree in Fine Arts and Bachelor's degree in Fine Arts (First Class Honours) from The Chinese University of Hong Kong. Yau is currently a Ph.D. candidate in History of Chinese Art at CUHK. He is also a Guest Lecturer from the Education of University of Hong Kong, a Programme Coordinator and Instructor of Chinese Art from Hong Kong Visual Art Centre as well as Instructor from SCS, CUHK. He was a part time lecturer from Academy of Visual Arts, Baptist University of Hong Kong.
__________
邱榮豐
生於香港，現居住及工作於香港。
邱榮豐專注於「水墨」的研究和創作，主要探討水墨的空間美學及精神於當代語境的變遷。邱氏近年曾舉辦 "All’s well, ends well."、《若境》、《渡景》、《蜃遊》等個人展覽；亦多次參與各地展覽，包括《吳彬：十面靈壁圖》（美國洛杉磯郡立美術館）、《巴塞爾藝術展》（香港會議展覽中心）、《中國當代水墨》佳士得拍賣、《水墨藝博》（香港會議展覽中心）、《台北國際藝術博覽會》（台北世界貿易中心展覽大樓）等。邱氏的作品獲洛杉磯郡藝術博物館、香港藝術館、M+、公共機構及私人等收藏。
邱氏獲香港中文大學藝術系文學士（一級榮譽）及藝術碩士，現為該校哲學博士（藝術史）侯選人、香港教育大學客席講師、香港視覺藝術中心中國藝術課程統籌導師及香港中文大學專業進修學院兼任導師，曾任香港浸會大學視覺藝術學院兼任講師。
"Viewing" Sceneries
The spatial expression has been emphasized in Chinese landscape painting (shan shui hua). The spatial relationship of the object is “constructed” through the painter’s ingenuity. The concept of “space” (the word “space” originates from western, which is a philosophy proposition with multi-meaning.)refers to “world view” (yu zhou guan) in China. “yu” represents space and “zhou” represents “time”. Therefore, the concept of “time and space” is essentially imprinted on the spatial expression of Chinese landscape painting. “Viewing the small from the big” (yi da guan xiao) is the method to express the relationship between time and space in ancient landscape painting. It is a reflection of psychological consciousness of the painter who faces the objective scenery. The development of my artworks have been accompanied by the concept of “view” (guan) which refers to the expression of spatial imagination through the “observation”. It is also a psychological process of integrating my imagery and imagination, which is different from “seeing” - a reflection of objective vision - reconstructing realism. On the other hand, I treat “view” as a way of viewing. Some source materials like aerial images, photography and satellite images provide various ways to obtain comprehensive vision nowadays. I have also tried to borrow from the remote-sensing images as the visual vocabulary in my painting. Intellectual and logical ways are definitely not the principal to depict the spiritual world in landscape painting. However, the spatial expression of subject spirit and imagery can be manifested through the integration between nature and human, including all subjective consciousness, aesthetic of form as well as the depicted object by the painter. As Wang Wei (c. 415-453), “Paintings” said: “it is limited to appreciate the landscape by only using the eyes. The mind should be released from the narrow sight and the eyes, and imagine the scenery inside the mind.”
In addition, “far” (yuan) is an important factor in expressing the concept of “view”, meanwhile, to express the pursuit of“spiritual realm”(yi jing). The “far” here does not mean the “distance” but an intention of spirit which is easy to draw from some ancient writings or theories on Chinese philosophy, literature and painting. For example, as early as Gu kai-zhi (c. 345-409), “Drawing Yuntai mountain”, Zong Bing (c. 375-443) ”Preface of Drawing shān shui” also mention and explain the spirit of “far”. The most familiar and typical theory about “far” is undoubtedly “Principle of Three Distances” (san yuan fa) from Guo Xi (c.1020-1090) “Shan Shui Instruction” which generalize the theory of constructing space and making spiritual realm in landscape painting. “Far” is the factor to expand my yearning of space in my creations based on traditional theories and to expand a more comprehensive vision through the modern “view”, as mentioned before.
In short, “view” is the reflection of my psychological consciousness and feeling when I am facing the object. “Far” is the intention of my spirit when I am depicting the object. The concept of both “view” and “far” reflect the expression of space in the artworks. “Transition Scene” as a proposition among “view” and “far” means that changing situation to express the changing scene in various situations. “Transition” refers to the changing and moving time. “Scene” involves the reflection of mental consciousness and space. The depiction of space-time relationship will be shown in my two-dimension or three-dimension artworks by integrating the compositions and the angle of the object. Trying to create out of the boundary of previous landscape paintings and constructing the visual “patterns” in spatial aesthetic of ink, experience the different notions and concepts between form, spatial and temporal dimension, moreover, to explore the potential relationship between the “viewing” methods, content and external form.
YAU Wing Fung
__________
「觀」境
中國山水畫一直講究空間表現，並透過畫家匠心「經營」對象的空間關係。中國的「空間」概念即是「宇宙觀」（「空間」一詞本源於西方，屬多義的哲學命題）-「宇」代表著空間，「宙」代表著時間，因此，「時空」的概念本質上烙印於中國山水畫的空間表現之上。古代畫家透過「以大觀小」的統攝之法來表現山水的時空關係，呈現出來是畫家面對客觀景物時心理意識的反映。我的創作圍繞著「觀」的概念發展，當中的「觀」指透過觀察表達對山水的空間想像，是一個整合意象和想象的心理過程，與「看」－客觀視覺的反射－寫實再現－有所區別。另一方面，我亦視「觀」如觀景的方式。現代能透過鳥瞰角度、攝影以至衛星影像等方式獲得更全面的視野（如我有意鑑遙感圖像作為畫面的「圖式」元素），為「經營位置」提供更多維度的空間想像。當然，山水畫的精神並非以知性思維與邏輯性的方式來看待自然世界，而是通過山水與人的交契合一，包括一切主觀感受、形式美感以至描繪對象的結構表現等，彰顯人的主體精神及意象化的空間表現。正如王微（415－453）《敘畫》所言：「目有所極，故所見不周。於是乎以一管之筆，擬太虛之體；以判軀之狀，盡寸眸之明。」
另一方面，「遠」是表達對「觀」的概念之重要因素，亦表達對意境的追求。這裡的「遠」並不是指視覺的距離，而是一種精神意向。一直以來，不難發現中國哲學、文學及繪畫等都對「遠」有所追求。就繪畫而論，早至顧愷之（345－409）《畫雲台山記》：「西去山，別詳其遠近」、宗炳（375－443）《畫山水序》：「豎劃三寸，當千仞之高；橫墨數尺，體百里之迥」等均體現「遠」的景致。其中，較為人熟知是郭熙《林泉高致・山水訓》提出的「三遠法」，亦是郭熙對山水畫創作實踐的總結，概括了空間構成的理論及造境之法。在我的創作中，「遠」在前人的基礎上作為我拓展山水畫的空間嚮往，正如上述所言，以現代「觀」擴展更多維度的視野。
概捨而言，「觀」是我面對對象時呈現的心理意識及感受；「遠」是我描繪對象時的精神指向，兩者均體現在作品的空間表現之上。在「觀」和「遠」的意義下，我以「渡景」作為命題，表達不同語境下的視覺經驗及情景變遷。「渡」意謂過渡、變遷，蘊含時間的遷移，呈現個人的心理意識；「景」即景色、情境，是空間意識的反映。作品透過平面或三維的空間配置，結合畫面佈局，描寫對象的時空關係，試圖從前人對山水畫的視覺經驗中脫邁出來，把視覺「圖式」及觀念置陳於水墨的空間美學之上，期望體現對時間、空間與形式的不同概念，以及探討觀看方式、畫面內容與外在形式的潛在關係。
邱榮豐
The spatial expression has been emphasized in Chinese landscape painting (shan shui hua). The spatial relationship of the object is “constructed” through the painter’s ingenuity. The concept of “space” (the word “space” originates from western, which is a philosophy proposition with multi-meaning.)refers to “world view” (yu zhou guan) in China. “yu” represents space and “zhou” represents “time”. Therefore, the concept of “time and space” is essentially imprinted on the spatial expression of Chinese landscape painting. “Viewing the small from the big” (yi da guan xiao) is the method to express the relationship between time and space in ancient landscape painting. It is a reflection of psychological consciousness of the painter who faces the objective scenery. The development of my artworks have been accompanied by the concept of “view” (guan) which refers to the expression of spatial imagination through the “observation”. It is also a psychological process of integrating my imagery and imagination, which is different from “seeing” - a reflection of objective vision - reconstructing realism. On the other hand, I treat “view” as a way of viewing. Some source materials like aerial images, photography and satellite images provide various ways to obtain comprehensive vision nowadays. I have also tried to borrow from the remote-sensing images as the visual vocabulary in my painting. Intellectual and logical ways are definitely not the principal to depict the spiritual world in landscape painting. However, the spatial expression of subject spirit and imagery can be manifested through the integration between nature and human, including all subjective consciousness, aesthetic of form as well as the depicted object by the painter. As Wang Wei (c. 415-453), “Paintings” said: “it is limited to appreciate the landscape by only using the eyes. The mind should be released from the narrow sight and the eyes, and imagine the scenery inside the mind.”
In addition, “far” (yuan) is an important factor in expressing the concept of “view”, meanwhile, to express the pursuit of“spiritual realm”(yi jing). The “far” here does not mean the “distance” but an intention of spirit which is easy to draw from some ancient writings or theories on Chinese philosophy, literature and painting. For example, as early as Gu kai-zhi (c. 345-409), “Drawing Yuntai mountain”, Zong Bing (c. 375-443) ”Preface of Drawing shān shui” also mention and explain the spirit of “far”. The most familiar and typical theory about “far” is undoubtedly “Principle of Three Distances” (san yuan fa) from Guo Xi (c.1020-1090) “Shan Shui Instruction” which generalize the theory of constructing space and making spiritual realm in landscape painting. “Far” is the factor to expand my yearning of space in my creations based on traditional theories and to expand a more comprehensive vision through the modern “view”, as mentioned before.
In short, “view” is the reflection of my psychological consciousness and feeling when I am facing the object. “Far” is the intention of my spirit when I am depicting the object. The concept of both “view” and “far” reflect the expression of space in the artworks. “Transition Scene” as a proposition among “view” and “far” means that changing situation to express the changing scene in various situations. “Transition” refers to the changing and moving time. “Scene” involves the reflection of mental consciousness and space. The depiction of space-time relationship will be shown in my two-dimension or three-dimension artworks by integrating the compositions and the angle of the object. Trying to create out of the boundary of previous landscape paintings and constructing the visual “patterns” in spatial aesthetic of ink, experience the different notions and concepts between form, spatial and temporal dimension, moreover, to explore the potential relationship between the “viewing” methods, content and external form.
YAU Wing Fung
__________
「觀」境
中國山水畫一直講究空間表現，並透過畫家匠心「經營」對象的空間關係。中國的「空間」概念即是「宇宙觀」（「空間」一詞本源於西方，屬多義的哲學命題）-「宇」代表著空間，「宙」代表著時間，因此，「時空」的概念本質上烙印於中國山水畫的空間表現之上。古代畫家透過「以大觀小」的統攝之法來表現山水的時空關係，呈現出來是畫家面對客觀景物時心理意識的反映。我的創作圍繞著「觀」的概念發展，當中的「觀」指透過觀察表達對山水的空間想像，是一個整合意象和想象的心理過程，與「看」－客觀視覺的反射－寫實再現－有所區別。另一方面，我亦視「觀」如觀景的方式。現代能透過鳥瞰角度、攝影以至衛星影像等方式獲得更全面的視野（如我有意鑑遙感圖像作為畫面的「圖式」元素），為「經營位置」提供更多維度的空間想像。當然，山水畫的精神並非以知性思維與邏輯性的方式來看待自然世界，而是通過山水與人的交契合一，包括一切主觀感受、形式美感以至描繪對象的結構表現等，彰顯人的主體精神及意象化的空間表現。正如王微（415－453）《敘畫》所言：「目有所極，故所見不周。於是乎以一管之筆，擬太虛之體；以判軀之狀，盡寸眸之明。」
另一方面，「遠」是表達對「觀」的概念之重要因素，亦表達對意境的追求。這裡的「遠」並不是指視覺的距離，而是一種精神意向。一直以來，不難發現中國哲學、文學及繪畫等都對「遠」有所追求。就繪畫而論，早至顧愷之（345－409）《畫雲台山記》：「西去山，別詳其遠近」、宗炳（375－443）《畫山水序》：「豎劃三寸，當千仞之高；橫墨數尺，體百里之迥」等均體現「遠」的景致。其中，較為人熟知是郭熙《林泉高致・山水訓》提出的「三遠法」，亦是郭熙對山水畫創作實踐的總結，概括了空間構成的理論及造境之法。在我的創作中，「遠」在前人的基礎上作為我拓展山水畫的空間嚮往，正如上述所言，以現代「觀」擴展更多維度的視野。
概捨而言，「觀」是我面對對象時呈現的心理意識及感受；「遠」是我描繪對象時的精神指向，兩者均體現在作品的空間表現之上。在「觀」和「遠」的意義下，我以「渡景」作為命題，表達不同語境下的視覺經驗及情景變遷。「渡」意謂過渡、變遷，蘊含時間的遷移，呈現個人的心理意識；「景」即景色、情境，是空間意識的反映。作品透過平面或三維的空間配置，結合畫面佈局，描寫對象的時空關係，試圖從前人對山水畫的視覺經驗中脫邁出來，把視覺「圖式」及觀念置陳於水墨的空間美學之上，期望體現對時間、空間與形式的不同概念，以及探討觀看方式、畫面內容與外在形式的潛在關係。
邱榮豐
Selected Awards。獎項
｜2022
Liu Kuo-sung Ink Art Award 劉國松水墨藝術獎
｜2018
Selected to Red Dot Design Award (Design Concept 2018) 入圍德國紅點設計大獎（設計概念 2018）
｜2015
Y.S. HUI Fine Arts Award 許讓成藝術獎
Chinese Painting and Calligraphy Creative Award 中國書畫創作獎
Wucius Wong New Ink Art Award 王無邪新水墨藝術獎
Talent Development Scholarship 才藝發展獎學金
Mr. & Mrs. Lam Wing-tak Scholarships 林榮德先生及夫人獎學金
Dean’s List - Merit, New Asia College, The Chinese University of Hong Kong 香港中文大學新亞書院優異生獎
｜2014
Van I-Pong Traditional Chinese Painting Creative Award 萬一鵬傳統中國畫創作獎
Wucius Wong Modern Ink Painting Award 王無邪現代水墨獎
Friends of the Art Museum Prize 文物館館友會獎金
Madam Jan Yun-bor Memorial Awards for Chinese Painting and Calligraphy 詹雲白夫人紀念中國書畫獎
Professor Raymond Fung Chinese Painting Award 馮永基教授中國畫學業成績獎
Professor Tseng K'e-tuen Chinese Poetry & Calligraphy Awards 曾克耑教授中國詩詞及書法學業成績獎
Talent Development Scholarship 才藝發展獎學金
Au Kin Kung Memorial Calligraphy Competition – Merit Award 區建公紀念書法比賽 大專組優異獎
Dean’s List - Merit, New Asia College, The Chinese University of Hong Kong 香港中文大學新亞書院優異生獎
｜2013
Culture Corner Art Academy Fine Arts Award 文苑藝術創作獎（中國繪畫）
Hong Kong Chinese Meticulous Painting Association Creative Award 香港工筆畫會創作獎
Professor Johnson Chow Su Sing Chinese Painting & Calligraphy Award 周士心教授中國書畫學業成績獎
Van I-Pong Chinese Art Award 萬一鵬中國藝術學業成績獎
Dean’s List - Merit, New Asia College, The Chinese University of Hong Kong 香港中文大學新亞書院優異生獎
｜2012
Au Kin Kung Memorial Calligraphy Competition – Merit Award 區建公紀念書法比賽 大專組優異獎
National Arts Elite Competition for Youth (Chinese Painting) – Second Runner-up 全國青少年藝術精英大賽（中國繪畫）季軍
The Best Design Award - Champion, HD of Commercial Design Graduation Exhibition, SCS, CUHK 商業設計高級文憑畢業展設計大獎 冠軍
Liu Kuo-sung Ink Art Award 劉國松水墨藝術獎
｜2018
Selected to Red Dot Design Award (Design Concept 2018) 入圍德國紅點設計大獎（設計概念 2018）
｜2015
Y.S. HUI Fine Arts Award 許讓成藝術獎
Chinese Painting and Calligraphy Creative Award 中國書畫創作獎
Wucius Wong New Ink Art Award 王無邪新水墨藝術獎
Talent Development Scholarship 才藝發展獎學金
Mr. & Mrs. Lam Wing-tak Scholarships 林榮德先生及夫人獎學金
Dean’s List - Merit, New Asia College, The Chinese University of Hong Kong 香港中文大學新亞書院優異生獎
｜2014
Van I-Pong Traditional Chinese Painting Creative Award 萬一鵬傳統中國畫創作獎
Wucius Wong Modern Ink Painting Award 王無邪現代水墨獎
Friends of the Art Museum Prize 文物館館友會獎金
Madam Jan Yun-bor Memorial Awards for Chinese Painting and Calligraphy 詹雲白夫人紀念中國書畫獎
Professor Raymond Fung Chinese Painting Award 馮永基教授中國畫學業成績獎
Professor Tseng K'e-tuen Chinese Poetry & Calligraphy Awards 曾克耑教授中國詩詞及書法學業成績獎
Talent Development Scholarship 才藝發展獎學金
Au Kin Kung Memorial Calligraphy Competition – Merit Award 區建公紀念書法比賽 大專組優異獎
Dean’s List - Merit, New Asia College, The Chinese University of Hong Kong 香港中文大學新亞書院優異生獎
｜2013
Culture Corner Art Academy Fine Arts Award 文苑藝術創作獎（中國繪畫）
Hong Kong Chinese Meticulous Painting Association Creative Award 香港工筆畫會創作獎
Professor Johnson Chow Su Sing Chinese Painting & Calligraphy Award 周士心教授中國書畫學業成績獎
Van I-Pong Chinese Art Award 萬一鵬中國藝術學業成績獎
Dean’s List - Merit, New Asia College, The Chinese University of Hong Kong 香港中文大學新亞書院優異生獎
｜2012
Au Kin Kung Memorial Calligraphy Competition – Merit Award 區建公紀念書法比賽 大專組優異獎
National Arts Elite Competition for Youth (Chinese Painting) – Second Runner-up 全國青少年藝術精英大賽（中國繪畫）季軍
The Best Design Award - Champion, HD of Commercial Design Graduation Exhibition, SCS, CUHK 商業設計高級文憑畢業展設計大獎 冠軍