DIGITAL EXHIBITIONS2
REBUS (Mystery)
畫謎（玄秘）
The Sum and Its Parts
總和及及其部分
6 Ways to Live a Life
6 種生活方式
On Heaven and Earth and the Void in Between
天地及虛空之間
Artworks on this wall focus on the relationship between heaven and earth, along with the role that humans play in this relationship. The focus is on concepts that visualise the interplay between heaven and earth—above and below, here and now, emptiness and abundance, yin and yang.
Mountain and water—depicted quite differently in the works of Eric FUNG and LI Jing—are not perceived as fixed elements, yet they embody the dynamic law of continuous change between two poles. The idea of change is also expressed in finding the middle way between extremes, or in the shifting times between day and night or the seasons.
The centre of the wall contains a simple circle painted by THÍCH Nhất Hạnh and an object consisting of two lightbulbs by Joseph LEUNG. Chapter 42 from the Dao de Jing, the Tao of Origin, also known as the Supreme Void, generates a form of unity. This duality, symbolised by the concepts of yin and yang, embodies continuous change. Through the interaction of these two forces and the active emptiness within them, which is needed for change to occur, a trinity is generated, ultimately giving rise to all ten thousand things. All other works of art are variations of this interplay of forces. In a sense, these works of art are a philosophy of life in action.
The void offers a crucial feature for understanding, for this is viewed in Chinese art as being an active element that forms an arena in which change can take place. The void introduces the moment of reversibility and openness into a given system, thus making it possible to overcome the rules. It is only through the void that the possibility arises for people to perceive what is depicted in the painting as being a recurring cycle to be understood holistically.
This aspect becomes visible in LI Jing's masterfully created paintings. His graceful and inspiring landscapes seem like individual life cycles taking place between heaven and earth. Some of these are juxtaposed with photographs from Peter SCHLÖR's series La Geria. The distant view and close-ups of the German photographer contrast with the Eastern landscape painting’s perception of the void and the Western dichotomy of abundance and reduction. The charm of these works comes from the stark contrast.
這面牆上的作品聚焦天地之間的關係，以及人類在這個關係中所扮演的角色。這裏的重點在於把天地之間的相互作用形象化的概念——上方和下方、此時此地、空虛與豐富，以及陰陽。
在馮以力和李淨的作品中，山和水的描繪截然不同。它們並非固定不變的元素，但卻體現了兩極之間不斷變化的動力法則。變化的概念也體現在兩極之間的中庸之道，亦表現於晝夜或季節的更替。
處於牆壁的中央位置是釋一行禪師所畫的一個簡單圓形，還有梁望琛以兩個燈泡製成的作品。《道德經》第42章提到：「道生一，一生二，二生三，三生萬物。萬物負陰而抱陽，沖氣以為和。」牆上的其他作品皆表現出陰陽力量的相互作用所產生的變化。從某種意義上說，它們是一種行動中的人生哲學。
「虛空」為理解事物提供重要指引，因此在中國藝術中，「虛空」被視為一個靈活巧妙的元素，營造了容許變化的空白區域。「虛空」可以為一個既定的系統引入可逆性和開放性，從而提供超越常規的可能性。 只有透過「虛空」，人們才能夠把畫中所描繪的事物視為一個生生不息的循環，從而得到整體理解。
這方面在李淨的超凡繪畫作品中體現得淋漓盡致。他那優美而鼓舞人心的自然風景猶如發生在天地之間的個體生命週期。其中一些作品與 Peter SCHLÖR 的《 La Geria》照片系列共同展示。這位德國攝影師的風景特寫和遠景，與兩種東西方視覺元素形成鮮明對比，前者是山水畫所體現的「虛空」，後者是擴充與縮小的對立。如此一來，這些作品的魅力得以展現無遺。
‘Mountains are mountains, waters are waters’. These lines from the Sansui Kyō call for mountains and waters to be thoroughly investigated, for then they can become sages and wise men.
《山水經》云：「山是山，水是水。」這句話提倡人只有深入研究山川，才能成為聖人及智者。
FUNG Yee Lick Eric
(*1985 Hong Kong)
Mountains and Rivers
2022
Ink on rice paper
H 34.5 x W 57.5 cm
Private collection, Hong Kong
馮以力
（*1985年 香港）
《山川》
2022年
水墨紙本
高34.5 x 闊57.5厘米
香港私人收藏
‘Not coming, not going’ is based on the Buddhist law of dependent origination, which means that one should take the middle path, indicated here by the void situated between the two sections of the artwork.
「不來不去」源自佛教的緣起法，意味著人們應該走「中道」。這件作品的中間 區域正正表現了「中道」。
FUNG Yee Lick Eric
(*1985 Hong Kong)
Not Coming, Not Going
2023
Diptych, ink on paper
H 69.5 x W 34 cm
Private collection, Hong Kong
馮以力
（*1985年 香港）
《不來不去》
2023年
水墨紙本雙聯畫
高69.5 x 闊34厘米
香港私人收藏
Becoming as the red stamp floats in the empty space between characters. We search for the meaning of our existence in the brief span of time between beginning and end.
變成紅色印章漂浮在文字之間的空白處。我們在從開始到結束的短暫時間中尋找存在的意義。
FUNG Yee Lick Eric
(*1985 in Hong Kong)
Becoming
2022
Ink on rice paper
H 45 x W 45.5 cm
Chan Tsz Wing Collection, Hong Kong
馮以力
（*1985年 香港）
《化》
2022年
水墨紙本
高45 x 闊45.5厘米
香港Chan Tsz Wing藏品
Cause and effect are mutually dependent. Can one exist without the other? The two here also stands for yin and yang, for which change is a primary attribute.
「因」與「果」是相依相存的。是否缺一不可？這裏的兩個部分代表陰和陽，變化是其主要特性。
Joseph LEUNG Mong Sum
(*1995 Hong Kong)
Untitled (Hong Kong, Hong Kong)
2020
Two lightbulbs from the opposite sides of the spectrum, plexiglas box
H 20 x W 30 x D 24 cm
Collection of the artist
梁望琛
（*1995年 香港）
無題（香港）
2020年
兩個相對的燈泡、亞克力板
由藝術家收藏
高20 x 闊30 x 深 24 厘米
A simple circle painted in one fluid motion shows the state of mind at the moment of its creation. This circle, called Ensō in Japanese, symbolises emptiness, enlightenment, strength, elegance and the universe. Or according to Laozi: ‘Great fullness seems empty, Yet it cannot be exhausted’. (Dao de Jing, 45).
以流暢線條畫成的一個簡單圓形，顯示了作者創作時的心境。這個圓形在日語稱為「円相」（圓相），象徵著空性、開悟、力量、優雅和宇宙。老子亦云：「大成若缺，其用不弊。」（節錄自《道德經》第45章）
THÍCH Nhất Hạnh
(1926 Huế, Vietnam–2022 Từ Hiếu Pagoda, Huế, Vietnam)
Zen Circle
2010
Ink on paper
H 54 x W 48 cm
HKU.Ca.2011.1905
Gift of Thích Nhất Hạnh
釋一行禪師
（1926年 越南順化市–2022年 越南順化市慈孝寺）
《圓禪》
2010年
水墨紙本
高54 x 闊48 厘米
HKU.Ca.2011.1905
釋一行禪師惠贈
‘The clear light contains the blue of the sky, and the round toad is white. The clear light above and below contains the virtual turquoise, for whom the round toad is white.’
Shi Facheng (1071–1128), also known as Pan, was a Zen Monk of the Cao Dong Sect in the Song dynasty.
「雪壓喬林同一色，清光上下含虛碧。采樵人立渡頭寒，極目圓蟾為誰白？」
釋法成（1071–1128年），宋代曹洞宗僧。秀州（浙江嘉興）人，俗姓潘。號枯木。
LI Jing
(*1972 Minnan, Fujian)
Inspired by Venerable Fa Cheng’s Poems
2018
Coloured ink on paper
H 75 x W 20 cm
Collection of the artist
李淨
（*1972年 閩南）
《法成禪師詩意圖》
2018年
設色紙本
高75 x 闊20 厘米
由藝術家收藏
‘At the point where the bridge breaks and the stream returns, three or four peach blossoms suddenly flow out.’
Miao Lun (1201–1261) was a Monk of the Yangqi School of the Linji Sect.
「忽於橋斷溪回處，流出碧桃三四花。」
妙倫禪師（1201–1261年）。南宋臨濟宗楊岐派僧人。
LI Jing
(*1972 Minnan, Fujian)
Inspired by Venerable Miao Lun‘s Poems
2018
Coloured ink on paper
H 75 x W 20 cm
Collection of the artist
李淨
（*1972年 閩南）
《妙倫禪師詩意圖》
2018年
設色紙本
高75 x 闊20 厘米
由藝術家收藏
‘The valley is quiet with the sound of autumn spring. The rock is deep and green.’
Wang Changling (698–756), also known by his Collection name Shaobo, was a Tang dynasty poet.
「谷靜秋泉響，巖深青靄殘。」
王昌齡（698–756年），字少伯。唐 代詩人。
LI Jing
(*1972 Minnan, Fujian)
Wang Changling’s Poetic Painting
2023
Colour on paper
H 35 x W 35 cm
Collection of the artist
李淨
（*1972年 閩南）
《王昌齡詩意圖》
2023年
設色紙本
高35 x 闊35 厘米
由藝術家收藏
‘Who knows that beyond the white clouds is a green radish in spring.’
Qian Qi (710–782), also known by his Collection name Zhongwen, was a famous Tang dynasty poet.
「誰知白雲外，別有綠蘿春。」
錢起（710–782年），字仲文。唐代詩人。
LI Jing
(*1972 Minnan, Fujian)
Inspired by Qian Qi’s Poems
2023
Colour on paper
H 35 x W 35 cm
Collection of the artist
李淨
（*1972年 閩南）
《錢起詩意圖》
2023年
設色紙本
高35 x 闊35 厘米
由藝術家收藏
‘Pines sit in the eternal sun. My mind is at ease with the clouds.’
Huang Qing Lao (1290–1348), also called Mr. Woodcutting Water, was a famed Yuan dynasty poet.
「松䕃坐永日，心與雲俱閑。」
黃清老（1290–1348年），人稱樵水先生。元代詩人。
LI Jing
(*1972 Minnan, Fujian)
Inspired by Huang Qinglao’s Poems
2023
Colour on paper
H 35 x W 35 cm
Collection of the artist
李淨
（*1972年 閩南）
《黃清老詩意圖》
2023年
設色紙本
高35 x 闊35 厘米
由藝術家收藏
‘The green mountain is immovable. The floating clouds come and go as they please.’
Only a few dialogues and the poem ‘Searching for a Sword for Thirty Years’ are known of the little-known Zen Master Lingyun Zhiqin, also known as Master Sacred Cloud.
「青山元不動，浮雲任去來。」
志勤禪師，又名靈雲禪師。傳世有《三十年來尋劍客》及其語錄。
LI Jing
(*1972 Minnan, Fujian)
Inspired by Zen Master Zhiqin’s Poems
2023
Colour on paper
H 35 x W 35 cm
Collection of the artist
李淨
（*1972年 閩南）
《志勤禪師詩意圖》
2023年
設色紙本
高35 x 闊35 厘米
由藝術家收藏
‘White birds and smoke. Autumn water in the sky.’
Hongzhi Zhengjue (1091–1157) was a Chinese Zen Buddhist monk who wrote several influential texts including the Book of Equanimity, a collection of 100 koans.
「白鳥煙沒，秋水連天。」
宏智正覺禪師（1091–1157年）。著有多部具影響力的作品，包括收錄了百則公案的《從容錄》。
LI Jing
(*1972 Minnan, Fujian)
Inspired by Zen Master Zhengjue’s Poems
2023
Colour on paper
H 35 x W 35 cm
Collection of the artist
李淨
（*1972年 閩南）
《正覺禪師詩意圖》
2023年
設色紙本
高35 x 闊35 厘米
由藝術家收藏
‘The cold mountains turn pale and verdant. The autumn water gurgles.’
Wang Wei (699–759) was a renowned Chinese poet, painter and musician in the Tang dynasty. While apparently none of his paintings have survived, around 400 of his poems remain. Most of them focus on nature.
「寒山轉蒼翠， 秋水日潺湲。」
王維（699–759年），唐代詩人、畫家、音樂家。畫作無一倖存。著有約四百首詩詞，其中大部分內容涉及自然。
LI Jing
(*1972 Minnan, Fujian)
Inspired by Wang Wei’s Poems
2023
Colour on paper
H 35 x W 35 cm
Collection of the artist
李淨
（*1972年 閩南）
《王維詩意圖》
2023年
設色紙本
高35 x 闊35 厘米
由藝術家收藏
‘The boat returns, empty of fish but full of moonlight.’
Chuanzi Decheng (820–858), also known as The Boatman Monk, was popular as a subject and is depicted in many paintings. He is often shown teaching from his ferry boat.
「滿船空載月明歸。」
船子德誠（820–858年），又稱「船子和尚」。繪畫作品中常見船子德誠禪師在船上教導眾人，是常見的題材。
LI Jing
(*1972 Minnan, Fujian)
Inspired by Zen Master De Cheng’s Poems
2023
Colour on paper
H 35 x W 35 cm
Collection of the artist
李淨
（*1972年 閩南）
《德誠禪師詩意圖》
2023年
設色紙本
高35 x 闊35 厘米
由藝術家收藏
Depicted is a motif in La Geria, an area located on Lanzarote (Canary Islands, Spain), known for the distinctiveness of its volcanic landscape. Fullness meets emptiness.
這件作品的主題是位於蘭薩羅特島（西班牙加納利群島）的拉赫里亞地區。該地區以其獨特的火山景觀而聞名。「填滿」與「空白」並行。
Peter SCHLÖR
(*1964 Mannheim, Germany)
La Geria I
2003
Diptych, fine art pigment print
H 25 x W 38 cm (each)
Edition 12 + 3 AP
Collection of the artist
Peter SCHLÖR
（*1964年 德國曼海姆）
《La Geria I》
2003年
顏料印相雙聯畫
高25 x 闊38 厘米
12版、3幅藝術家版
由藝術家收藏
We seem to see the same motif three times, but always a different detail. As the counterpart of fullness, the void opens up possibilities for change.
我們似乎看到同一個主題三次，但總是看到不同的細節。「空白」對應「填滿」，提供變化的可能。
Peter SCHLÖR
(*1964 Mannheim, Germany)
La Geria II
2003
Diptych, fine art pigment print
H 25 x W 38 cm (each)
Edition 12 + 3 AP
Collection of the artist
Peter SCHLÖR
（*1964年 德國曼海姆）
《La Geria II》
2003年
顏料印相雙聯畫
高25 x 闊38 厘米
12版、3幅藝術家版
由藝術家收藏
By changing the perspective in the space of the landscape, we learn to become flexible in our perception. In this way we open ourselves up to the rich possibilities that arise in the interplay between heaven, earth and human beings, and experience the basic idea that underlies the Dao De Jing.
透過改變觀看地景的視角，我們的感知能力變得靈活。以這種方式，我們能夠迎接透過天、地、人之間的互動所產生的豐富可能性，並體驗《道德經》的基本思想。
Peter SCHLÖR
(*1964 Mannheim, Germany)
La Geria III
2003
Diptych, fine art pigment print
H 25 x W 38 cm (each)
Edition 12 + 3 AP
Collection of the artist
Peter SCHLÖR
（*1964年 德國曼海姆）
《La Geria III》
2003年
顏料印相雙聯畫
高25 x 闊38 厘米
12版、3幅藝術家版
由藝術家收藏
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