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傳統與至善
中瑞剪藝對話
2026年3月20日 - 2026年6月7日金剛松影︰王新水墨
2026年2月27日 - 2026年5月24日金剛松影︰王新水墨
2026年3月4日 - 2026年5月22日 導賞The Evolution of the United Arab Emirates’ Cultural Ecosystem
Institutions, Infrastructure, and Cultural Synergies since the 1980s
2026年3月25日 講座瀏覽藏品分類
更多藏品 ➔在家探索博物館
INSTAGRAM 足跡
【Upcoming Exhibition ✂️ 展覽預告】
Paper cuttings have long fascinated viewers with their expressive storytelling and extraordinary precision. For the first time, Swiss paper cuttings from the collection of Interlaken-based collectors Elsbeth and Niklaus Wyss are being juxtaposed with Chinese paper cuttings from the collection of the University Museum and Art Gallery, The University of Hong Kong, along with works from the Guanling Paper Cutting Art Museum and the Jieyiyuan Paper Cutting Art Center, Pingyao, both located in Shanxi province. The aim of the exhibition is to highlight the diversity and distinctive cultural identities of this fascinating art form. In 2009, Chinese paper cutting was added to UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. To highlight the significance of this craft spanning both cultures, two parallel exhibitions will be held in spring 2026, at the University Museum and Art Gallery and the Kunsthaus Interlaken (22 February–17 May 2026).
Swiss paper cuttings are primarily narrative works. From the mid-19th century onwards, they replaced the popular shadow pictures known as silhouettes, with a particular focus on Alpine life. Swiss paper cuttings function as condensed narrative microcosms, each distinguished by striking and subtle variations in their repertoire of figures, forms, and designs. Cut from black paper and arranged largely symmetrically, Swiss paper cuttings feature a wealth of ornamentation and an incredible density of detail that invites viewers to discover and linger. The exhibition will feature works by pioneers such as Johann Jakob Hauswirth and Louis Saugy; traditional cuttings by David Regez and Christian Schwizgebel; and contemporary constructions from Ueli Hofer, Martha Kneusslin, Nelly Naef, Ernst Oppliger, Bruno Weber, and others.
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Upcoming Lecture💬
The Evolution of the United Arab Emirates’ Cultural Ecosystem:
Institutions, Infrastructure, and Cultural Synergies since the 1980s.
Public narratives about museums in the UAE—and across the Middle East—often focus on iconic mega-projects of the last decade. This talk offers a longer, more layered perspective, examining the UAE’s cultural sector as an interconnected ecosystem shaped over more than 40 years. Beginning in the 1980s and gaining momentum through the 1990s and early 2000s, the lecture explores how museums, private patron-led initiatives, cultural organisations, universities, and the art market collectively contributed to today’s cultural landscape. It also considers how different emirates developed distinct strategic visions and institutional priorities. By moving beyond headline narratives, the talk invites audiences to understand cultural infrastructure as a cumulative, relational process.
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🗣️Speaker: Manal Ataya, Museums Advisor, Sharjah Museums Authority
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[Lecture] The Evolution of the United Arab Emirates’ Cultural Ecosystem: Institutions, Infrastructure, and Cultural Synergies since the 1980s.
📅 Wednesday, 25 March, 2026
🕕 5:00–6:00 p.m.
📍 1/F, Fung Ping Shan Building, UMAG, HKU, 90 Bonham Road, Pokfulam, Hong Kong
🗣️ Language: English
🎟️ Registration Required
🔗 For more information, please check the link in bio!
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Attention HKU Alumni! 💚
HKU Alumni Day is back, and UMAG can’t wait to celebrate with you on campus!
Mark your calendars for 14 March 2026 (Sat) and drop by UMAG, which will be open to all alumni and friends throughout the day. You might even get a special preview of our upcoming exhibition, “Tradition & Perfection: Paper Cuttings from China & Switzerland”!
See you there, fellow HKUer!
港大校友注意！💚
HKU Alumni Day 返嚟喇！UMAG已經準備好响校園同你一齊慶祝！
2026 年 3 月 14 日（星期六），UMAG 歡迎你隨時到訪！
你重有機會率先欣賞到我哋即將推出嘅展覽「傳統與至善——中瑞剪藝對話」！
各位HKUer，到時見！
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Featured Artwork:
Basket with Ducks and Rabbits
Albertus Cerbrand Reesen (Holland)
1773
Early folding cut
14 x 9.7 cm
籃中鴨兔
Albertus Cerbrand Reesen (荷蘭)
1773年
早期折叠剪紙
14 x 9.7厘米
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🗓️ 2026年3月14日 (星期六) | 11am - 5pm
📍 香港大學本部校園及百周年校園
🔗 立即登記！alumnigiving.hku.hk/hku-alumni-day/
#HKU #HKUAlumni #香港大學 #HKUAlumniDay2026
Painter and seal carver Wang Xin was born in Xingtai, Hebei province, in 1964, and graduated from the Chinese Painting Department of the Sichuan Academy of Fine Arts in 1991. He currently lives in Beijing, where he teaches Master of Fine Arts students at the Communication University of China. This unprecedented exhibition of his paintings of pine trees offers specific insights into his philosophical mindset and, more specifically, the Buddhist influence of the Diamond Sutra (Vajracchedikā Prajñāpāramitā Sūtra). The opening of the exhibition was held at UMAG on February 26. Officiating guests included the artist
Wang Xin, Dr. Qiu Zhongming, Dr. Chan Kwun Nam, Phil, UMAG Director Dr Florian Knothe and UMAG Associate Curator Dr Shuo Hua.
The artist’s large compositions combine finely rendered ink drawings of rocks and trees with excerpts from the Diamond Sutra. Reminiscent of Wang’s daily religious practice and study of the text, the sutra’s philosophy influences his compositional choices and defines how Buddhist concepts affect his use of space. A pivotal Mahayana Buddhist scripture, the Diamond Sutra is a core text in the Perfection of Wisdom (Prajñāpāramitā) tradition. Through a dialogue between the Buddha and Subhūti—one of the Buddha’s ten principal disciples, foremost in “dwelling in peace”—it teaches that reality is illusory and empty, revealing profound insights on non-self (anātman) and liberation through non-attachment, impermanence, and emptiness.
Neither meant to illustrate the scripture nor directly support its narrative, Wang’s Diamond Pine depictions carry the gravitas of the Diamond Sutra’s philosophy by depicting trees that transcend commonly expressed symbolic meanings. While in Chinese culture the pine tree symbolises longevity, endurance, steadfastness, and integrity—often representing noble scholars or gentlemen who remain strong and true despite harsh conditions—Wang’s compositions stand out for their use of void spaces. They employ a pictorial language that emphasises the longing for tranquil and peaceful isolation taught by the sutra.