HUNG Fai 熊輝
The Six Principles of Chinese Painting- Transmission X (with Hung Hoi)
2016
147.5x149cm
Ink and colour on paper

The concept of Hung Fai’s “The Six Principles of Chinese Painting: Transmission by Coping”* stemmed from the perception of model and transmission in Chinese painting.  Through the act of inviting his father, Hung Hoi, to paint a model landscape, Hung Fai reversed the traditional relationship between the transmitted (the father) and the transmitter (the son).  The usage of ink dots, water and folding rice paper created a new method that allowed Hung to deconstruct the conventional notion of “red landscape" which symbolizes authority.  The sensibility of tracing and the physicality of deconstructing materials was indeed a contrasting methodology.  The resulting work, a departing landscape, ultimately transformed and reconstructed tradition, authority and familial relationship. 

In this new Transmission Series, Hung Fai once again collaborated with his father on conceptualizing and creating a landscape composition.  Hung Hoi first painted in cinnabar red color a model landscape. With the paper folded and saturated, Hung Fai delineated the model with black ink dots.  Traces of the ink created subtle, faded silhouette as penetrated through layers of folded paper.  Upon unfolding there appeared an image deconstructed and transformed from the original model. 

At the completion of the last panel, Hung Fai asked Hung Hoi: “Of this last image, what does the faded marks look like?” He then asked his father to paint over the faded ink marks his interpretation of the last panel.  By extending the conceptual framework through re-inviting his father to paint the end panel, Hung Fai fully manifested the relationship between landscape, tradition, authority and family; and most importantly suggested a state of endless creative cycle which underlies the artist’s contemporary spirit.

​* “The Six principles of Chinese Painting: Transmission” was established by Xie He, a  Chinese painter and art critic in sixth century AD, in the preface of his book "The Record of the Classification of Old Painters".

作品重新演釋「繪畫六法：傳移模寫」*，在概念框架下，主動邀請父親以硃砂物料繪畫以山水為主題的範本，逆轉傳統中被臨摹者（父親）與臨摹者（兒子）的關係。以墨點描摹，利用水、墨、紙的物理性，解構象徵權威的紅色山水。感受性的描摹經驗與物理性的解構手法形成反差。分離、消散的山水，最終被轉化和重構，成為呈現其與傳統、權威和父子之間關係的載體。

在「傳移模寫」的新系列，熊輝邀請父親──熊海──於宣紙上以硃砂繪畫山水作為範本，先將其摺疊、濕透，再於山水的上層以墨點描摹。墨水經層層滲透，穿透紅色山水，留下隱約、消逝的墨痕。展開的畫面，紀錄對範本的解構和轉換的過程。

最後熊輝問熊海：「最終這幅，那消逝的墨痕像甚麼？」請父親於墨痕上以硃砂畫下他的聯想，以紀錄他的回應。 藉著記錄雙方的表述，延伸了概念框架的完整性。完整地體現山水與傳統、權威和父子之間的關係，呈現一種無盡、具創造性的循環狀態，並由此反映了藝術家的當代精神。

 *「繪畫六法：傳移模寫」出自六世紀時的中國畫家、藝術理論家謝赫，載於其著作《古畫品錄》中的序論。