Newsletter No. 496

08 # 4 9 6 | 1 9 . 0 4 . 2 0 1 7 中大艺术系有何独特之处? 艺术系历史悠久,前身是1957年于新亚书院成立的两年制艺术专修 科,其后发展为四年制。1963年香港中文大学成立,新亚书院为成员 书院之一,艺术系成为香港第一个提供专上艺术教育的学系。后来不 同大专院校的艺术课程相继出现,有些注重创作,有些集中研究艺术 史,而中大艺术系则理论与创作并重,以传统中国艺术为课程核心。 艺术系的每位学生都经过严格挑选,正因师生比例小,彼此的关系相 当密切。 如何团结系内研究不同艺术范畴或从事不同创作的老师? 只要老师们都热爱艺术、认真教学,大家真诚相处,做事就自然会齐 心。教研人员的不同背景与专长能展现艺术系的多元文化,当我们需 要某个范畴的专家意见,可以询问相关的同事。遇上大型活动,又可 分工合作,共同为艺术教育而努力。 现在高等院校的艺术课程愈来愈多,会否形成院校间激烈的 竞争? 应该说合作的机会多了,例如我们和浸会大学视觉艺术院订立协议, 让两校学生可到对方学校上课,这样学生可选修的科目范围就更广。 其实多了专上艺术院校,不仅增加中学毕业生的升学选择,艺术系毕 业生也可到不同的院校执教,有助提升本港整体艺术教育的气氛。 你心目中理想的艺术系学生需要具备什么特质? 我希望他们拥有较全面的知识,除了艺术范畴外,亦对其他学科具备 一定的认识,以融入中大这所研究型综合大学。另外,品德亦非常重 要,收生面试时,老师们会在言谈间观察学生的为人─是否诚恳? 是否真诚对待艺术?对艺术又有多大热忱? 艺术系如何栽培这一类学生? 除了课堂上的学习,我们鼓励学生与不同团体交流和实习、积极参与 国际艺术博览,在本港以至海外不同的展馆呈现他们的作品,希望 学生在老师的指导下,能获得更多创作经验,并从中学习如何待人处 事,因为最有效的艺术或品德教育不是灌输,而是老师们的身教。 近年来,家长对子女修读艺术的心态可有改变? 心态比起以前开明多了,过往很多人认为艺术系毕业后就只能做艺术 家,而当艺术家又一定很难维持生计。但现在经济比以前进步,艺术 家有更多工作机会,学生毕业后可以选择做学者、老师,甚至艺术行 政、设计、传媒、导演等工作,出路多了,家长的心态也放宽不少,愿 意支持子女发展所长。 现今社会对艺术的支持又如何? 公营或私营机构普遍都愿意为艺术发展投放更多资源。博物馆、画 廊与展览厅等场地的数目不断增加,私营画廊也愿意为新晋艺术家 宣传。虽然当中涉及不少商业元素,但毕竟还是为本地年轻艺术工作 者提供更多在香港甚至世界各地发展的机会。 对艺术系六十周年有何感想?又有什么展望? 我们今天能够享受丰硕的教研成果,实在有赖前人的努力,他们为艺 术系奠定了非常稳固的基础。未来最大的挑战,在于一方面要竭力承 传艺术系的传统特色,但又不能故步自封、予人守旧的形象。为此,艺 术系将努力争取更多经费,让学生到海外交流以增广见闻,同时亦积 极建立国际化的教研团队。我的心愿是艺术系的师生可在多元的文 化土壤上,专心投入创作与学术研究,让艺术系能培育更多认真、诚 恳,并拥有多面才华的艺术家。 莫家良教授 Prof. Harold K.L. Mok 艺术系系主任 Chair of the Department of Fine Arts 口 谈 实 录 / V iva V oce Photo by ISO Staff What makes the Department of Fine Arts unique? The Department has a long history which can be traced back to 1957, when a two-year Fine Arts Specialized Training Programme was set up at New Asia College. Two years later, it was developed into a four-year programme. In 1963, New Asia College joined CUHK as one of the University’s constituent Colleges. The Department of Fine Arts then became the first provider of fine arts courses in Hong Kong tertiary institutions. In the decades that followed, we witnessed a growing number of art programmes in higher education. Some focus on studio practice, others on art history. Our curriculum covers both aspects, with a strong emphasis on traditional Chinese art. The Department has a low student-faculty ratio and therefore the relationship between students and teachers has always been very close. How do you unite all faculty members with different expertise? Having faculty members with diverse expertise is a valuable asset to the Department. It means we always have a wide range of talent to support our academic and outreach endeavours. In fact, our faculty members have a lot in common—they are all passionate about art, education and research. We respect each other and a powerful bond between us is natural. Does more art programmes in higher education mean fiercer competition among tertiary institutions? It actually means more chances to cooperate. For example, our Department is working with the Academy of Visual Arts at Baptist University to allow the students to take courses at both institutions. More art programmes in higher education also means more choices for secondary school graduates and more employment opportunities for fine arts graduates. The latter can teach or conduct research at various universities and play prominent roles in enhancing the overall development of art education in Hong Kong. What do you look for in a Fine Arts student? I expect the student to be well-rounded. Artistic talent aside, a Fine Arts student at CUHK has to acquire the attributes deemed important by a comprehensive- research university like CUHK. We also pay special attention to the students’ personalities. During the admission interviews, we look for students who are both genuine and serious about the study and making of art. How does the Department nurture its students? Apart from having lectures and studio practices, we encourage our students to participate in exchange and internship programmes in Hong Kong and abroad, as well as to exhibit their work at international art fairs and exhibitions. We hope that our students would acquire real-world experience by participating in these events under the supervision of their teachers. We also believe that mentoring is an effective way of sharing wisdom, knowledge and value in art and education. Did the parents’ attitude towards art education change over the years? They are becoming more open-minded. Many parents used to think that their children would end up being starving artists after they graduate from art schools. However, in a more affluent society, students of Fine Arts are given more career choices. Apart from becoming an artist, a Fine Arts graduate can work as a curator, designer, reporter or even a film director. How about the society’s support of art? Both public and private enterprises are investing more in the development of art. The numbers of museums and galleries have been increasing over the years. There has also been an increasing number of private galleries in Hong Kong and overseas. Many of them are eager to promote the artworks of emerging artists. Though most of them are commercially driven, a growing art market nevertheless opens up new platforms for young artists to have their artworks exhibited in Hong Kong and all over the world. How do you feel about the Department’s 60th anniversary and how would you envision its future? I feel very grateful to the founders of the Department. It’s our mission to preserve our tradition, but at the same time, we have to keep moving forward. In recent years, the Department has been actively acquiring financial support to expose our students to the global art scene. We are also building a very international faculty with an aim to add new perspectives to both teachers and students. I hope that our Department can continue to provide a very favourable environment for art education and research, as well as to nurture more emerging artists with all-rounded skills to serve the international art communities.

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