Foreword
The Yu Un Chinese Calligraphers and Painters Association of Macao is one of the city’s most representative and influential art organisations. With its rich regional and cultural background, the association is an emblem of traditional Chinese art in the Macao Special Administrative Region, embodying a virtuous, inclusive and unified ethos.
In 2013, the Macao Museum of Art and the Yu Un Chinese Calligraphers and Painters Association of Macao joined hands to present Memories of Rice Paper: A Retrospective of Chui Tak Kei’s Artworks. Just a decade later, here is A Gathering of Treasures: The 70th Anniversary Art Exhibition of the Yu Un Chinese Calligraphers and Painters Association of Macao.
Memories of Rice Paper showcased a veritable catalogue of Mr Chui Tak Kei’s oeuvre. He founded the Yu Un association, and his refined aesthetics and exquisite brushwork elevated his works in terms of imagery and beauty. What’s most impressive about his art and the art of the other talented Yu Un members is that they all worked humbly together in a salon and frequently supported each other.
A Gathering of Treasures takes a step further than its 2013 predecessor. It features remarkable artworks by seven maestros: Chui Tak Kei as the leading artist, Deng Fen, Luo Shuzhong, Situ Qi, Lin Jin, U Kuan Wai and Gan Heng. The artworks remind me of these veterans’ distinct artistic styles and important social contributions, leading to two aspects of reflection that I outline below.
One: A new role in regional cultures.
Hong Kong and Macao are located in the south of China. During the Ming dynasty, the Guangzhou Prefecture (also known as Guangfu) was established with two administrative divisions: Xin’an County and Xiangshan County. The residents were mostly Guangdong natives; consequently, people in Guangzhou, Hong Kong and Macao all speak the same language today: Cantonese. They also share similar customs that have their root and origin in Guangfu culture, although there are also clear regional differences. Macao has close ties with ‘Sze Yup (Siyi)’, which refers to the historical four counties of Jiangmen prefecture: Xinhui, Taishan, Enping and Kaiping. It also shares close ties with ‘Nam Pun Shun (Nanpanshun)’, which refers to the three counties of Nanhai, Panyu and Shunde. Additionally, Macao is a city of rich East and West cultural influences and exchanges. These influences and exchanges have shaped the city into a unique one with an open and inclusive cultural character. The Yu Un association, with great affection for the motherland, has been fostering a connection between Macao and Guangfu cultures for many years.
Deng Fen and Luo Shuzhong were natives of Nanhai. They lived in Guangzhou in their early years before visiting many places outside their home city. In their later years, they stayed in Hong Kong and Macao. Situ Qi was from Kaiping and relocated to Macao. He fostered many friendships through art. He also taught in a high school and trained many students. Although he lived overseas in his later years, he always spent time travelling back to his homeland.
Chui Tak Kei, Lin Jin and U Kuan Wai were born in Macao, where they spent their entire lives. Xinhui was Chui and Lin’s ancestral home, while U’s was Taishan. The three artists furthered their studies in China. After graduating, they returned to Macao and contributed tremendously to their hometown, supporting its culture and education system while also advancing exchanges both at home and abroad. Elegant and refined, Mr Chui was an influential socialite in the city over several decades. He was the President of the Macao Association for Xinhui Fellows and regularly donated funds to his ancestral home. He was also engaged in an array of culture, education, health and charity businesses. He set a great example regarding love and commitment to the motherland. Chui’s donations helped build the Gangzhou Painting Academy in Xinhui – which was called Gangzhou in the past – an academy that his peers warmly received.
Today, the ‘Outline Development Plan for the Guangdong-Hong Kong-Macao Greater Bay Area’ notes that Macao is positioning itself to become a ‘base for exchange and cooperation with Chinese culture as the mainstream and the coexistence of different cultures’. Looking back at its long history, isn’t Macao’s unique historical and cultural status affirmed and isn’t the work of these veteran artists made all the more important? Before Macao’s handover to China, the Yu Un association and its members were already adhering to the idea of ‘Chinese culture as the mainstream’ in the city. The association has been committed to the country’s overall development and to advancing its cultural ethos for many years. These predecessors were not prophets. However, they developed a strong sense of patriotism and fully recognised the importance of Chinese culture. Cultural recognition, therefore, is paramount to the association.
These artistic veterans shouldered heavy responsibilities and achieved a lot in Macao. Today, we all assume the duty of building a cultural bay area together while discovering a new cultural role for Macao. A Chinese poem reads: ‘Depicting one’s character and spirit is the most difficult part of Chinese painting.’ Therefore, local artistic talents must work together diligently to paint Macao’s cultural landscape in this richly spirited modern era.
Two: Inclusiveness and unity.
During the War of Resistance, painter Gao Jianfu took refuge in Macao. Later, he established the Chunshui Painting Academy at the Kun Iam Temple and trained many students. Situ Qi was among the most talented. Gao focused on sketches and advocated innovation in painting. He celebrated the idea that an eclectic mix of Chinese and Western painting styles must be embraced as this blends ancient techniques with modern ones. In contrast, painter Deng Fen was a member of the Chinese Painting Research Society established in Guangdong, which applied a different approach to Gao’s school which upheld eclecticism. The society adhered to Chinese painting traditions and created mostly literati paintings. Such conversations and collisions of contrasting traditional and modern perspectives led to the diverse development of the modern Guangdong painting culture. A flower in blossom is not as glorious as a lush bush. The Yu Un association’s veteran artists, including Deng Fen and Situ Qi, demonstrated such an ideal in their collaborative paintings.
Over the past four decades, Yu Un’s members have travelled around the world, and many art masters and gurus have also come to Macao. The association never makes assumptions about different art schools. Instead, it openly absorbs artists of all disciplines and welcomes creatives with various perspectives. Its inclusive milieu leads to harmony, unity and prosperity among its members, meaning that the art of calligraphy and painting is both passed on and promoted. Consequently, the association has grown considerably and is home to various art practices and ideas. These are all fine traditions worth upholding.
The leading members of Yu Un – Honorary President José Chui Sai Cheong, President Chui Sai Peng, Executive Vice President Sio Chun Iun and Chairman Dixon Lei Tak Seng – have devoted themselves to the association’s 70th anniversary celebration. The exhibition’s title [in Chinese] is ‘A gathering of treasures in Haojing’ [where Haojing refers to Macao] .
In remembrance of the veteran artists’ commitment to painting, I pay tribute to them here with an allusion to the Hao River from the chapter ‘Autumn Waters’ of the classical Chinese text Zhuangzi: ‘Philosophers Zhuangzi and Huizi are strolling along the Hao River. Zhuangzi notes that “the minnows are swimming freely. Such is the happiness of fish”. Huizi says that “you are not a fish, so how would you know if they are happy?” And Zhuangzi answers, “you are not me, so how would you know if I don’t understand the happiness of fish?”’
After some discussion, Zhuangzi concludes, ‘I’ve discovered my answer over the Hao River’. Later generations frequently use ‘over the Hao River’ as a metaphor for a place where they find a different understanding of a particular subject and, at the same time, find pleasure in it. Similarly, what do we understand in Haojing? I say to the Yu Un veterans who were engaged in art and cultural accomplishments: ‘I’ve discovered Haojing is the place over the Hao River.’ Like a literary and artistic feast, this ‘gathering’ brings together remarkable brushwork and artistry. This is truly a superb showcase of artistic talent.
Seven decades have passed since the formation of the Yu Un association. We have inherited the past and, from here, will follow in our predecessors’ footsteps while also inspiring future generations. We must work together to seize our opportunities and achieve as much as possible in the future.
Chan Hou Seng
Academic Advisor of the Yu Un Chinese Calligraphers and Painters Association of Macao