最新消息
銀匣瑰寶：
日本御製糖果盒
2025年11月5日 - 2026年2月8日掌中造物
宋至清代中國文房青銅器
2025年10月24日 - 2026年2月8日掌中造物
宋至清代中國文房青銅器
2025年10月31日 - 2026年2月5日 導賞銀匣瑰寶：
日本御製糖果盒
2025年11月13日 - 2026年2月4日 導賞Mozart—
The ‘Palatine Sonatas’ for Violin and Piano (K.301-306)
2025年12月5日午間音樂會
舞影流芳—共賞名家遺韻
2025年12月2日 表演瀏覽藏品分類
更多藏品 ➔在家探索博物館
INSTAGRAM 足跡
We heard snowy photos are trending… so our famous bronze lions wanted to join in! ❄️🦁 They’ve never seen real snow before, so this AI-generated winter wonderland is a dream come true for them. Happy Start of Winter (立冬) from everyone (including the lions) at UMAG; wishing you a cozy, magical season ahead!
最近聽說「下雪照」很流行，連我們美術博物館門前的銅獅也忍不住加入潮流！❄️🦁 牠們從來沒見過真正的雪，這次靠AI生成終於圓夢了！香港大學美術博物館（和銅獅們）祝大家立冬快樂！
!Join us for a musical afternoon at UMAG! 🎵
Take a break and enjoy the “Lunchtime Piano Recital: Dances – In Step with the Masters” at UMAG. Pianist Kent Fu will perform a curated selection of music including Carl Maria von Weber’s concert-waltz “Invitation to the Dance“ and Frédéric Chopin’s youthful “Rondo à la Mazur“. In celebration of Maurice Ravel’s 150th anniversary, the recital will close with the French composer’s “Valses nobles et sentimentales“, a shimmering tribute to the elegance and nostalgia of Viennese dance.
🗓 Date: 2 Dec 2025 (Tuesday)
🕐 Admission: 12:45–1:00pm | Concert: 1:00–2:00pm
📍 Venue: Drake Gallery, 1/F, UMAG, HKU, 90 Bonham Road, Pokfulam, Hong Kong
🎟️ Free admission, registration required
✨ For more information, please check the link in bio!
—
午間音樂會，邀您同享藝韻！🎵
約定你於這個中午蒞臨UMAG，欣賞鋼琴家傅厚鈦先生精湛演繹「舞影流芳—共賞名家遺韻」午間音樂會。承書信意旨，擷取三位音樂巨匠之佳作，選曲包括韋伯的《邀舞》；蕭邦充滿詩意的馬祖卡舞曲及洋溢波蘭民族風情的《馬祖卡風格迴旋曲》。為慶祝拉威爾誕辰一百五十週年，將以《高貴而傷感的圓舞曲》作結。
🗓 日期：2025年12月2日 （星期二）
🕐 入場：12:45–1:00pm | 音樂會：1:00–2:00pm
📍 地點：香港薄扶林般咸道90號港大美術博物館馮平山樓一樓林仰山展覽廳
🎟️ 免費入場，請即網上登記！
✨ 活動詳情請參考檔案內連結。
The University Museum and Art Gallery, The University of Hong Kong is delighted to present “Japanese Jewels: Imperial Silver Bonbonnières”, an exhibition of precious boxes that illustrate a well-documented tradition in Japan, which rose to prominence during the Meiji era and became formalised in imperial ceremonies. These containers, often made from pure silver and adorned with gold inlays and enamel, regularly display motifs that symbolise auspicious elements such as longevity, prosperity, and harmony. The story of Japanese imperial bonbonnières is a story of both creation and reception—of the master artisans who made them and the carefully selected recipients who received them. Makers like Kobayashi, Miyamoto, or Muramatsu upheld court traditions through exacting craftsmanship, while recipients, from nobles to foreign envoys, engaged in a socially meaningful system of imperial recognition.
The opening of the exhibition was held at UMAG on November 4. Officiating guests included the Consul-General of Japan in Hong Kong, Ambassador Miura Jun, the collectors Nancy and Robin Markbreiter and UMAG Director Dr Florian Knothe.
Stylistically, Japanese silver bonbonnières exemplify artefacts shaped by encounters with European court practices, refined through technical and aesthetic adaptation, and ultimately transformed into powerful symbols of modern Japanese sovereignty. They demonstrate how a foreign object type, reinterpreted through national traditions of craftsmanship and ceremonial use, became an enduring component of Japan’s imperial identity. Their evolution from Meiji modernisation to Reiwa minimalism tells a larger story about the material culture of power, the visual language of the Japanese court, and the role of objects in mediating historical memory. Though modest in scale, the bonbonnière encapsulates the convergence of courtly patronage, artisanal expertise, symbolic visual culture, and ritual within modern Japanese history.
All silver boxes on display are part of the Nancy and Robin Markbreiter Collection. This exhibition has been made possible through their generous support and the patronage of the Consulate-General of Japan in Hong Kong.
The University Museum and Art Gallery, The University of Hong Kong is honoured to present “Handmade and Handheld: Song to Qing Dynasty Chinese Bronzes for the Scholar’s Studio”. The eighty-seven objects illustrate a remarkable cultural continuum that links ancient ritual traditions to a sophisticated literati aesthetic and intellectual life. These bronzes, having transcended their original ritual functions, became prized art objects, instruments of scholarly inquiry, and emblems of moral and political values. Their diverse forms—from ritual vessels to intimate incense burners and scholarly desk pieces—reflect the deep integration of bronze into the fabric of imperial and literati culture. In so doing, many of the plants and animals—mythical or real—carry important auspicious meanings that contribute to the learned culture from which they originate.
The opening of the exhibition was held at UMAG on October 23. Officiating guests included the collector and author Mr Paul Bromberg, and UMAG Director Dr Florian Knothe.
This stylistic diversity and the technical innovations evident across these dynasties testify to the enduring creativity of Chinese bronze craftsmanship. At the same time, the reverence for antiquity that shaped both the collecting and production of bronzes anchored Chinese cultural identity in its historical and philosophical foundations, making scholar bronzes a vital medium of continuity and transformation within Chinese civilisation. Yet only a few museum exhibitions, collection catalogues, and scholarly publications have addressed the historical, artistic, and ritual significance of later Chinese bronzes, highlighting their diverse forms and functions from the Song through the Qing dynasties. Given their rarity, we thank Mr Paul Bromberg for his generous loan, without which we would not have been able to study and share with the public these finely cast bronzes and the auspicious meanings they hold.