《天人共創．第十四場：粵港澳大灣區文化新生態》於惠...

甲骨文香港馆 · 发表于 6 天前

香港東方書畫院20260408期［院長梁君度］撰稿人：蔡文潔博士

山海之間的文化回響

《天人共創．第十四場：粵港澳大灣區文化新生態》於惠州啟幕

DMSIXSEVEN / LIN JING DE /1973

主編供圖：香港DM德馬數字甲骨文集團

Hong kong-based DM Delmar Digital Oracle Group

在山海交匯之處，水氣氤氳，雲影流轉。海浪拍岸，天光於水與雲之間流動，構成近乎原初的自然節律。惠州十里銀灘不僅是一處地理空間，更是一個介於自然與文明之間的過渡場域。在此背景下，《天人共創．第十四場：粵港澳大灣區文化新生態》於4月11日啟幕（展期4月8日至5月6日），為當代藝術與區域文化發展提供了具有象徵意義的展示平台。

本次展覽選址十里銀灘鳳凰大酒店，正處於自然景觀與城市建構的交界之處，從空間層面回應大灣區當前的文化轉型。在全球化與城市化加速的背景下，大灣區逐步形成兼具經濟活力與文化潛力的區域格局。如何在高速發展中維持文化深度，如何在現代城市語境中延續傳統精神，成為當代藝術與文化實踐的重要課題。

本展覽由粵港澳大灣區水墨概念協會主辦，以香港藝術家為創作主體，匯聚黃約翰、江玉庭、歐展昂、陳偉邦、韓丹松、郭志立、何偉明、麥錦超、崔紹漢、揚樹威、莊楚標、劉暉、黃恩約、溫小豪、曾麗萍、曾承煜、陸佳等藝術家，呈現香港作為華人藝術重要節點的文化能量。開幕式主禮嘉賓陣容亦具代表性，包括兩岸青年書畫交流協會會長陳文星、香港東方書畫院院長梁君度、前香港中國美術會執行主席歐展昂、香港職業書畫家協會會長韓丹松，以及前香港工業設計師協會會長及顧問何偉明等。在黃約翰主席與江玉庭會長的推動與組織下，展覽得以匯聚多方藝術力量，形成跨地域與跨媒材的創作對話。

藝術家透過跨媒材與多語言創作，回應自然、文化與當代生活，在延續筆墨精神的同時，以當代視角重構東方美學，呈現鮮明的區域特質與時代意識。整體而言，本次展覽展現出當代水墨在香港與大灣區語境中的多重轉化：由書寫性筆墨延伸至抽象結構，進而連結都市經驗、材料實驗與精神表達，使水墨由傳統再現轉化為具空間性、時間性與當代感的視覺語言。透過跨媒材轉譯與文化交織，一條融合書寫性、結構性與精神性的發展路徑逐步形成，使水墨在延續氣韻精神的同時，回應全球藝術語境的流動與轉變。

從歷史脈絡觀之，此一實踐與嶺南畫派的現代轉型密切相關。20世紀初，嶺南畫派提出“折衷中西”，以寫生與現實題材推動中國畫走向現代視覺語言，開啟華人藝術現代化進程。其後，香港在文化流動中成為關鍵轉譯場域，“新水墨運動”進一步將水墨引入抽象與精神性探索，使其成為可與國際藝術對話的當代語言。由嶺南至香港，再延伸至大灣區，逐步形成一條由在地革新、跨域轉譯至當代生成的文化發展路徑，使區域成為傳統與當代交匯的重要節點。

在此基礎上，新時期水墨不再停留於單一的“當代化”敘事，而轉向具有方**意識的重構，可被理解為一種“氣骨生成”的實踐：以“氣”承續氣韻生動的生命觀，以“骨”回應骨法用筆的結構原則，並透過“生成”引入數位技術與跨媒介思維，使水墨成為持續演化的開放系統。在此之中，筆墨由形式語言轉為能量流動與結構生成的機制，畫面亦由再現轉為時間、感知與空間交織的場域；同時，“活墨”等新命名進一步將水墨理解為具有生命性與交互性的文化系統，使其在當代藝術語境中獲得延展。

在此背景下，水墨正由媒材與風格轉化為具理論自覺與方法意識的當代藝術範式，而大灣區亦成為嶺南文化與香港水墨經驗在當代的延續與再生場域。“天人共創”作為本次展覽的核心概念，源於天地人相互感應的傳統宇宙觀，並在當代轉化為整合自然、文化與人文精神的整體性思維，其中“人文”作為關鍵中介，連結自然與社會，強調感知、情感與文化創造力。

在媒材運用上，展覽呈現多樣並置：水墨以留白與皴染展現氣的流動與精神生成，油畫以色層與光影表現海岸與城市的張力，書法轉化為節律與能量的視覺形式，水彩則以透明與滲化回應海風與潮汐。不同媒材在同一空間中交會，形成視覺與感知層面的多重對話。

在鳳凰大酒店的展覽場域中，藝術作品與門外海景形成互動關係，觀者在觀看作品的同時，也感知光線、海風與空間氛圍，使藝術經驗由視覺延伸至身體與感知，構成沉浸式的人文場域。

本次展覽由策展人蔡文潔博士統籌策劃。她表示，“天人共創”並非抽象理念，而是一種可被實踐的文化方法。在其策展框架中，展覽不僅是展示空間，更是一個文化實驗場，透過多元藝術語言的交織，重新思考華人藝術在當代的文化位置與價值意義。

《天人共創》系列展覽持續關注華人藝術在不同地域語境中的發展。本次以香港藝術家為主體，置於嶺南畫派與新水墨的歷史脈絡之中，不僅凸顯香港在華人藝術發展中的關鍵角色，也揭示大灣區作為當代文化生成場域的潛力。

在全球化與地方性、傳統與當代的交錯之中，本次展覽試圖提出一種新的文化想像：藝術不僅是表達工具，更是連結自然、人文與社會系統的重要媒介。當觀者走出展覽空間，面對仍在流動的山海與天光，或許會意識到，“天人共創”並非僅存在於作品之中，而是一種持續發生的過程——在自然與城市之間，在人文與歷史之中，一種新的文化形態，正在悄然生成。

At the confluence of mountains and sea, misty vapors gather and cloud shadows drift. Waves crash againse shore, and light flows between water and clouds, composing a natural rhythm that is nearly primordial. The Ten-Li Silver Beach in Huizhou is not merely a geographical transitional field situated between nature and civilization. Against this backdrop, *Co-Creation of Heaven and Man: Session XIV: Cultural New Ecology of the Guangdong-Hong Kong-M Greater Bay Area* opened on April 11 (exhibition period: April 8 to May 6), providing a symbolic platform for the display of contemporary art and regional cultural deelopment.

Held at the Phoenix Hotel on Ten-Li Silver Beach—a location situated at the intersection of natural landscapes and urban construction—the exhibition responds spatially to the current cultural transform the Greater Bay Area. Against the backdrop of accelerating globalization and urbanization, the Greater Bay Area is gradually forming a regional pattern characterized by both economic vitality and cultural potential. How to maintltural depth amidst rapid development, and how to sustain traditional spirit within the context of the modern city, have become crucial issues for contemporary art and cultural practice.

Organized by the Ink Conceptsociation of the Guangdong-Hong Kong-Macao Greater Bay Area, the exhibition features Hong Kong artists as the primary creative force. It gathers artists such as Won-kwong, Kong Yuk-ting, Au Chin-ngong, Chan Wai-bong, Han Dansong, Kwok Chi-lap, Ho Wai-ming, MKam-chiu, Tsui Siu-han, Yeung Shu-wai, Cheung Chu-biu, Lau Wai, Wong Yuen-yuet, Wanu-hou, Tsang Lap-ping, Tsang Shing-yuk, and Luk Ka, presenting the cultural energy of Hong Kong as a pivotal node in Chinese art. The lineup of distinguishuests at the opening ceremony was also representative, including Chen Wenxing, President of the Cross-Strait Youth Calligraphy and Painting Exchange Association; Leung Koon-tu, Pres of the Hong Kong Oriental Calligraphy and Painting Academy; Au Chin-ngong, former Executive Chairman of the Hong Kong Chinese Artists Association; Han Dansong, President of the Hong Kong Professionaalligraphers and Painters Association; and Ho Wai-ming, former President and Advisor of the Hong Kong Designers Association. Under the promotion and organization of Chairmanng Yiu-kwong and President Kong Yuk-ting, the exhibition has gathered artistic forces from various sectors, forming a creative dialogue that transcends geographical boundaries and media.

Through cross-media and multilingal creation, the artists respond to nature, culture, and contemporary life. While continuing the spirit of brush and ink, they reconstruct Eastern aesthetics from a contemporary perspective, presenting distinct regional charactistics and a sense of the times. Overall, the exhibition demonstrates the multiple transformations of contemporary ink art within the context of Hong Kong and the Greater Bay Area: extending from calligraphbrushwork to abstract structures, and further connecting urban experience, material experimentation, and spiritual expression. This transforms ink from traditional representation into a visual language characterized by spatiality, temporality, acontemporaneity. Through cross-media translation and cultural interweaving, a developmental path integrating calligraphic, structural, and spiritual elements gradually emerges, allowing ink art to respond the fluidity and transformation of the global art context while sustaining the spirit of Qi and韵 (rhythm).

From a historical perspective, this practice is closely linked to the modern transformation of the Lingnan School. Inthe early 20th century, the Lingnan School proposed the concept of "synthesizing Chinese and Western styles," using sketching from life and realistic themes to propel Chinese painting toward a mual language, thereby initiating the modernization of Chinese art. Subsequently, Hong Kong emerged as a pivotal site for cultural translation; the "New Ink Movement" further introduced ink into lorations of abstraction and spirituality, transforming it into a contemporary language capable of engaging in dialogue with international art. Extending from Lingnan to Hong Kong and further to the Great Bay Area, a cultural development path has gradually taken shape, progressing from local innovation and cross-domain translation to contemporary generation, positioning the region as a crucial node where tradition and the contemporary intersen this basis, ink art in the new era no longer remains confined to a singular "contemporaneity" narrative but shifts toward a methodologically conscious reconstruction, which can be unds a practice of "generating Qi and Gu": using "Qi" to sustain the life view of "vivid spirit and resonance," "Gu" to respond to the structural prple of "bone method in brushwork," and "generation" to introduce digital technology and cross-media thinking, rendering ink a continuously evolving open system. Within this framework, brush and ink tranrom a formal language into a mechanism of energy flow and structural generation, while the pictorial plane shifts from representation to a field interwoven with time, perception, and spaceanwhile, new terms like "Living Ink" further conceptualize ink as a cultural system possessing vitality and interactivity, enabling its extension within the context of contemporary art.

Against this backtransforming from a medium and style into a contemporary art paradigm characterized by theoretical self-awareness and methodological consciousness, while the Greater Bay Area has become a site for the continuation and regtion of Lingnan culture and Hong Kong's ink experience in the contemporary era. "Co-creation of Heaven and Man," the core concept of this exhibition, originates from the traditional gy of mutual resonance between heaven, earth, and humanity. In the contemporary context, it is transformed into a holistic thinking that integrates nature, culture, and the human spirit, whee "humanity" serves as a key intermediary connecting nature and society, emphasizing perception, emotion, and cultural creativity.

In terms of media application, the exhibition presents a diverse juxtaposition: reveals the flow of Qi and spiritual generation through empty space and texturing; oil painting expresses the tension between coast and city through layers of color and light; calligraphy is transformed into ual forms of rhythm and energy; and watercolor responds to sea breezes and tides through transparency and diffusion. Different media converge within the same space, forming multiple dialogues on visuald perceptual levels.

Within the exhibition space of the Phoenix Hotel, the artworks interact with the seascape outside the doors; as viewers engage with thes, they also perceive the light, the sea breeze, and the spatial atmosphere, extending the artistic experience from the visual to the bodily and sensory, thereby constituting an immersive humanistic s exhibition is curated by Dr. Tsai Wen-chieh. She states that "Co-creation between Heaven and Man" is not an abstract concept but a cultural methodologybe practiced. Within her curatorial framework, the exhibition serves not merely as a display space but as a cultural laboratory, rethinking the cultural positioning and significance of Chinese art in the cont era through the interweaving of diverse artistic languages.

The "Co-creation between Heaven and Man" series of exhibitions continuously focuses on the development of Chinese art within different regional conts. Centering on Hong Kong artists and situated within the historical lineage of the Lingnan School and New Ink Art, this exhibition not only highlights Hong Kong's pivotal role in the developmen Chinese art but also reveals the potential of the Greater Bay Area as a site for the generation of contemporary culture.

Amidst the interplay of globalization and locality, tradition and the cporary, this exhibition seeks to propose a new cultural imagination: art is not merely a tool of expression but a vital medium connecting nature, humanity, and social systems. As viewers stee exhibition space to face the still-flowing mountains, seas, and light, they may realize that "Co-creation between Heaven and Man" does not exist solely within thorks, but is an ongoing process—between nature and the city, within humanity and history—a new cultural form is quietly emerging.