Newsletter No. 424

8 No. 424, 4.10.2013 文物館館長 蘇芳淑教授 是甚麼原因讓你放棄在美國的美術館高級館長 職位，來到中大任教？ 美術館館長和教師的工作表面來看非常不同，但目標 都是為了教育。美術館的對象是普羅大眾，通過展覽， 引起他們的興趣，提升其欣賞藝術的能力。教學則是較 專注於教導學生，培育新一代的藝術人才。兩者同樣重 要，我在美術館工作了頗長時間，碰上這裏的藝術系有 教席空缺，我想轉個方向來從事藝術教育也不錯，就是 這樣執起教鞭。 為何偏愛研究青銅器和玉器史？ 是機緣巧合吧。內地於七十年代末改革開放，不少有關 考古的新發現得以向外公開，那時我適值進入哈佛大 學研究院進修藝術史，指導老師正是專研中國古代文 物的，順理成章我便開始了這方面的研究。再者，說故 事不是該從頭說起嗎？玉器在新石器時代已出現，距今 五千多年，青銅器則是三四千年間，正是了解中國古代 文化藝術的起源、特點和早期成就的好媒介。 中大藝術系的優勢是甚麼？有哪地方需要加強？ 優勢是中大設有文物館，能讓藝術系學生親睹館藏和 各類展覽，就近仔細琢磨每件藝術品的特點，效果比看 照片好多了。我經常帶本科生和研究生到文物館上課， 他們的反應很熱烈，這種切實看着藝術品來學習的機 會非常難得。藝術系的師資也非常雄厚，從中國古代玉 器和青銅器、書畫、宗教雕塑、陶瓷、篆刻等，以至當代 中國藝術史的專才都有。香港近年冒起的新進藝術工 作者，不少是中大畢業生，有的作品用的是傳統中國手 法，但表達的題材卻是近現代香港的。藝術創作需要大 的空間，但現時學系地方不足，局限了錄取學生人數。 香港藝術學生與外國有何不同？ 香港學生的創作意欲十分強，那份熱情不遜於外國學 生，但對鑽研學術卻不太積極，不愛深究藝術創作的背 景和文化。外國學生則對不同文化深感興趣，樂於一一 認識，深入研究和分析。 可有為文物館定下發展路向？ 文物館的使命是作為大學的教育工具之一，對象不限於 藝術系學生，而是全校師生和職員，以至市民，通過展 覽、講座、出版書籍等，感染大家，提升欣賞中國藝術文 化的能力，珍視中國藝術今天之成就。我們最近聘任了 兩位副館長，並重新整合了展覽及研究、藏品管理、文 物保護、場地設施、教育推廣等各項工作，未來會繼續 致力推廣中華文化藝術，並加強與藝術系的教研合作。 能告訴我們一些欣賞文物、藝術品的入門要 訣嗎？ 我想在看展品前，不妨先花少許時間看看解說，這樣能 有助你了解它的創作因由、社會背景和作者心境，自然 更能領略它的特點和藝術成就，也有更多得着。 請談談你在西九文化區管理局董事局的工作。 參與西九工作的原因，是希望把多年的美術館管理和 藝術教育的經驗提供予當局參考，並在不同的階段提 示決策者不可忽略西九作為教育、推廣和培訓的功能。 我期望西九日後落成啟用，是像華盛頓、巴黎的藝術區 般，有公園、藝術、文娛表演場地、展覽區域，成為一家 大小都愛流連的地方。 Prof. Jenny So Director, Art Museum Before joining CUHK, you were the senior curator of an art gallery in the US. What brought you here? A curator may be different from a teacher, but they share the same goal—to educate. An art gallery aims at kindling public interest in art and raising the appreciation of it. Teaching focuses on nurturing new artistic talent. Both jobs are equal in terms of importance. I had worked in an art gallery for a long time when the opportunity to teach in a fine arts department emerged, so I took up the challenge. Why are you interested in history of Chinese bronzes and jades? By coincidence. Following China’s open door policy in the late 1970s, new archaeological excavations were publicized. At that time, I was studying art history at Harvard Graduate School. My supervisor was a specialist in ancient Chinese antiquities, so I naturally followed the same path. Besides, stories should be told from the start. Jade appeared over 5,000 years ago in the Neolithic period, and bronze, 3,000 to 4,000 years ago. They are the best media for understanding the origin, characteristics and achievements of ancient Chinese art. Where are the strengths of the Department of Fine Arts? Which areas should be enhanced? Our strength lies in having the Art Museum which enables fine arts students to examine closely the features of the exhibits in the permanent and other collections. This is way more effective than letting them study photos. I always bring undergraduate and postgraduate students to the Art Museum for tutorial. They are very enthusiastic. It’s indeed a rare and valuable experience. The department also has a wealth of teaching talent in topics from ancient Chinese jade and bronze, Chinese painting and calligraphy, religious sculpture, ceramics and seal cutting, to contemporary Chinese art history. Quite a number of emerging Hong Kong artists in recent years are CUHK graduates using traditional Chinese artistic methods to present themes on modern Hong Kong. The greatest limitation of our department is inadequate space for making art, which prevents us from admitting more students. How do Hong Kong’s fine arts students compare to those overseas? Hong Kong students are very passionate about creating—definitely no less than overseas students, but they are not too zealous about doing academic research, and learning about the background and culture behind artistic creation. Foreign students, on the other hand, are more interested in understanding and analysing different cultures. Any plans for the future development of the Art Museum? The mission of the Art Museum is to serve as one of the University’s media of education. Our service targets are not only fine arts students, but also CUHK staff and other students, as well as the general public. We hope to cultivate appreciation for Chinese art and its accomplishments through exhibitions, lectures and publications. We have recently appointed two associate directors and integrated our work in exhibition and research, collection management, conservation, facilities and equipment, education and outreach. We’ll strive to fulfil our mission and strengthen ties with the Department of Fine Arts in teaching and research. Could you share with us some tips on appreciating works of art? My suggestion is to read the illustrations before viewing the work. It will give you information such as why the piece was created, the social background and the creator’s mind, etc., which would help you to appreciate its special features and accomplishments. You’ll end up getting more out of the work than you expected. Please tell us about your work for the West Kowloon Cultural District (WKCD). I serve on the board of WKCD Authority to contribute my experiences in art gallery management and art education, and to remind the authorities not to neglect the education, promotion and training functions of the West Kowloon project. I sincerely hope that WKCD will be a place where people of all ages like to hang out, like the art districts in Washington and Paris.