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Experimental Painting And Painting Theories In Colonial Hong Kong (1940-1980): Reflections On Cultural Identity

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Chapter Summary

This chapter illustrates the development of the conceptual and aesthetic transformation that took place in Hong Kong between 1940 and 1980 by examining the aesthetics and artistic experiments of several representative painters. It also provides a critical discussion of this aesthetic development and asks whether art and cultural discussions in contemporary postcolonial discourse can be applied to the situation of Hong Kong. Scholars agree that, since the mid-nineteenth century, Hong Kong has experienced more cultural interchange than any other Chinese city. This is largely due to its colonial heritage and its geographical position as the southern outlet of China. In the 1970s, more and more local artists devoted themselves to creating their own individual styles instead of conforming to Western artistic practice. The New Ink Movement, introduced in Hong Kong in the 1960s, revised traditional Chinese ink painting.

Keywords: Chinese ink painting; Colonial Hong Kong; New Ink Movement; painting theories



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