四位藝術家，同樣從中國文人畫傳統出發，卻走出了截然不同的道路。《傳統新象》匯聚陳家泠、姜寶林、盧輔聖與彭先誠的作品，回望他們自1980年代以來如何以各自的筆墨語言延續、轉化並拓展中國水墨，讓「傳統」不只是被保存，而是在不同世代中持續生長。

Four artists, one shared literati tradition, and four very different paths. Tradition Renewed brings together works by Chen Jialing, Jiang Baolin, Lu Fusheng and Peng Xiancheng, tracing how their distinctive approaches have continued to transform and expand Chinese ink painting since the 1980s. Rather than simply preserving tradition, their works show how it can continue to evolve across generations.

推介原因 WHY IT MATTERS

適逢藝倡畫廊成立45周年，《傳統新象》不只是一次當代文人畫聯展，更回望畫廊與中國當代水墨共同走過的數十年。早在1980年代，藝倡已開始與陳家泠、姜寶林、盧輔聖及彭先誠合作，並透過多個重要展覽，把正在轉變中的中國水墨帶到香港及國際觀眾面前。如今四位藝術家的作品再次聚首，也讓觀眾從今天重新觀看這段水墨由傳統走向當代的歷程。

Marking Alisan Fine Arts’ 45th anniversary, Tradition Renewed is more than a group exhibition of contemporary literati painting. It also looks back on the gallery’s decades-long relationship with Chinese contemporary ink. Since the 1980s, Alisan has worked with Chen Jialing, Jiang Baolin, Lu Fusheng and Peng Xiancheng, presenting their works in landmark exhibitions that introduced a rapidly changing Chinese art scene to audiences in Hong Kong and beyond. Bringing these four artists together again offers a chance to revisit this history from the perspective of today.

重點一覽 HIGHLIGHTS

1️⃣ 花鳥也可以很當代：陳家泠的色彩新視野 Flowers and Birds, Reimagined: Chen Jialing’s New Vision

作為當代海派書畫的重要人物，陳家泠尤其以荷花作品聞名。他的創作植根傳統，卻不完全依循古典水墨的用色方式，而是重新調整色彩，使畫面在典雅寧靜之中帶有鮮明的現代感。展出的《秋色雙鳥》以大片明亮黃葉與兩隻小鳥構成畫面，傳統花鳥題材因色彩與構圖的轉變而呈現出新的視覺氣息。

A leading figure of the contemporary Shanghai School, Chen Jialing is particularly known for his lotus paintings. His work remains deeply rooted in tradition, yet he rebalances the colour language of classical ink painting to create compositions that feel both refined and distinctly modern. In A Pair of Birds in Autumn, expanses of luminous yellow foliage surround two small birds, transforming a familiar bird-and-flower subject through colour and composition.

2️⃣ 當白描走向抽象：姜寶林的線條節奏 When Line Becomes Rhythm: Jiang Baolin’s Abstract Ink

姜寶林六十多年來持續探索中國畫的邊界，其中最具代表性的方向之一便是白描。他沒有沿用傳統白描對物象輪廓的細緻再現，而是捨棄肌理和明暗，把山水逐步簡化成密集交錯的點與線。在《連山好竹人家》中，山、竹與房舍仍然隱約可辨，但畫面同時像一張由線條構成的抽象網絡，讓「描繪風景」慢慢轉化成觀看筆墨本身。

Across more than six decades of practice, Jiang Baolin has continuously pushed the boundaries of Chinese painting, particularly through his distinctive approach to baimiao. Rather than using line primarily to describe form, Jiang removes texture and shading and reduces the image into dense, interwoven rhythms of dots and lines. In Bamboo-Rich Hills and Homesteads of Lianshan, mountains, bamboo and houses remain visible, yet the scene simultaneously approaches abstraction, turning the landscape into an experience of line itself.

3️⃣ 山是人，人亦是山：盧輔聖的「天人合一」When Mountains Become Human: Lu Fusheng’s Unity of Man and Nature

盧輔聖的山水尤其有趣之處，在於人物與自然之間的界線逐漸消失。他在2000年代由人物畫轉向山水，後期作品中的山峰往往呈現細長、近似人體的形態，與他早期人物作品中如山般的面部特徵互相呼應。這種人物與山水之間的轉換，也呼應道家「天人合一」的思想——人並不是站在自然之外觀看山水，而是本來就屬於其中。

What makes Lu Fusheng’s landscapes particularly intriguing is the gradual disappearance of the boundary between human beings and nature. After shifting from figure painting towards landscape in the 2000s, Lu began creating elongated, human-like mountains that echo the mountain-shaped facial features of his earlier figures. This transformation between body and landscape resonates with the Taoist idea of unity between humanity and the natural world: rather than standing outside nature and observing it, the human figure becomes part of the landscape itself.

4️⃣ 把唐詩畫回紙上：彭先誠的古典新情感 Painting Poetry Anew: Peng Xiancheng’s Tang Imagery

彭先誠則從古典人物與詩詞尋找另一種更新傳統的方法。他以唐代仕女、人物與馬匹聞名，卻沒有以清晰輪廓追求歷史式的精準再現，而是利用流動的水墨與色彩營造人物的動勢與氣氛。尤其值得留意的是，他擅長把古典詩詞中的意象轉化成畫面，讓千年前的文字重新成為當代可以觀看與感受的視覺經驗。

Peng Xiancheng finds another way to renew tradition through classical figures and poetry. Celebrated for his depictions of Tang dynasty court ladies, figures and horses, he avoids rigid outlines in favour of expressive washes of ink and colour, allowing movement and atmosphere to take precedence over historical precision. Particularly distinctive is his ability to transform the imagery of classical verse into visual form, allowing poetic scenes from the past to be experienced anew through contemporary ink painting. all english title please become small and large letter.

背景 BACKGROUND – 藝倡畫廊 ALISAN FINE ARTS

畫廊早於1980年代已與這幾位藝術家合作，並曾舉辦「上海繪畫：蛻變中的中國藝術」（1987）及「中國現代繪畫：北京、杭州、四川作品選集」（1989）等重要展覽，在中國文化與藝術快速轉變的時期，把不同地區的當代中國藝術帶到國際觀眾面前。

The gallery has worked with these artists since its early years, presenting landmark exhibitions including A State of Transition: Contemporary Painting from Shanghai in 1987 and Modern Chinese Paintings: A Selection from Beijing, Hangzhou and Sichuan in 1989. These exhibitions introduced the artistic landscapes of different regions in China to international audiences during a period of significant cultural change.

小貼士 TIPS

別只問哪一幅「最傳統」——試試找出四位藝術家各自改變了傳統的哪一部分。

Instead of asking which work looks the most “traditional”, look for what each artist chooses to change.

---

傳統新象：當代文人畫大師 | Tradition Renewed: Contemporary Literati Masters

日期 Dates
2026.08.25 – 2026.11.14

時間 Opening Hours
星期一至六 Monday – Saturday
10:00 – 18:00

地點 Venue
藝倡畫廊 Alisan Fine Arts
香港中環擺花街1號一號廣場21樓
21/F Lyndhurst Tower, 1 Lyndhurst Terrace, Central, Hong Kong

圖片提供：藝術家陳家泠、姜寶林、盧輔聖、彭先誠及藝倡畫廊｜Courtesy of the Artists Chen Jialing, Jiang Baolin, Lu Fusheng, Peng Xiancheng and Alisan Fine Arts