Bulletin Spring‧Summer 1999

the barrenness of the building. Similarly, in the painting of the University Library (Figure 2), rain is used to dilute the strong straight lines of University Mall. In two other paintings (Figure 3 and Figure 4) the heavily textured Chun g Chi Tang and the University Residences appear as a hazy reflection amidst foliage which is use d to detract attention from the buildings. Mr. Wang said he di d not choose to paint the University realistically because ‘the works must show its mood and spirit.' T o get a better feeling for this 'mood and spirit', he studie d his subject's history, mission, distinguishing characteristics, college life, etc. through reading University publications and observing student life. In doing so he hoped to capture not only its physical beauty but also its inner aesthetics. He stressed that a painting must contain the artist's subjectivity — one that is artistically controlled — in order to be able to move, com- municate, and make an impact on the viewer. ‘ My stay was too short unfortunately. I f I paint the campus again next time, y ou ' ll see a different rendition resulting f r om a different comprehension.' M r . W a n g h a d originally finished some 20 paintings, many of which ended up in the artist's bin. Among the remaining 13 are paintings of the landmarks of the four colleges and the main campus , and one of the whole university which was finished in Beijing. The works show what Mr. Wang thought of the University. But what do members of the CUHK community think of the University and of Mr. Wang's paintings? Mr. Wang said he simply couldn't wait to hear their v i e w s .• Figure 3 Figure 4 Wang Mingming, a native of Shandong province, was born in Beijing in 1952. Already an avid painter when he was very young, Wang was hailed as a prodigy. His early works were exhibited in over 30 countries across the world, winning first-class awards and prizes in international children's painting competitions. In the seventies he trained under such great masters as Wu Zuoren, Li Kuchan, Jiang Zhaohe, Lin Lingcang, Lu Chen, and Zhou Sicong, thereby building for himself a solid foundation for his later works. The last decade or so has been a productive period for Wang, whose creations, with diverging themes' reflected the genuine feelings that could only be the result of an exquisite sensibility. As ease with tradition and emphasizing the cultivation of the inner spirit, Wang has evolved a style that combines the serenity of the literati with modern consciousness, one that blends the brush-and-ink tradition with the profundity of living, displaying an unsurpasse d freshness. His works have time and again featured in nation-wide art exhibitions, attracting much attention and acclaim from his fellow artists. Wang has held exhibitions and given lectures in Singapore, Japan, Hong Kong, Taiwan, and Canada, and his influence on his contemporaries is considerable. A National First-class Artist, Wang is currently a vice-president of the Beijing Studio of Traditional Chinese Painting, adirecto r of the Chinese Artists Association, a vice-president of the Beijing Artists Association, a vice-chairman of the Commission on Senior job Titles of the Artistic Profession in the Beijing Municipality, a Beijing representative in the National People's Congress, and a member of the Chinese People's Political Consultative Conference. Chinese University Bulletin Spring • Summer 1999 2