{"data-model-common":[{"name":"lang", "value":"en"} ,{"name":"detail-page-free", "type":"replicant", "value": [ ]} ,{"name":"programmeDescription", "type":"text", "value":"Chinese landscape painting and Western classical music are two different art forms.&nbsp; They seem to be unrelated due to their own historical development.&nbsp; However, if we observe from a specific angle, the essence of these two arts is not only interlinked, but also closely connected.&nbsp; This lecture series attempts to offer a fresh perspective in appreciating painting and music.&nbsp; In addition, the speaker will use selected collections and exhibits from the Hong Kong Museum of Art as the subject of discussion, hence attendees will have the opportunity to see the authentic artworks before or after the lectures.<br /><br />Speaker: William Ting&nbsp;<br /><br /><br /><br /><strong>5 Sep&nbsp;(Fri)</strong><br /><strong>Lecture 1&nbsp; Connect: The meeting point of Chinese painting and Western music</strong>&nbsp;<br />Piano Demonstration: Chung Chi-woo<br /><br />An introduction to the style and character of Chinese landscape painting and Western classical music of different periods.&nbsp; More importantly, to explore the intersection of the two arts, as well as the similarities of their historical development.<br /><br /><br /><br /><strong>12 Sep&nbsp;(Fri)</strong><br /><strong>Lecture 2 &nbsp;Sublime: Fan Kuan and J.S. Bach&nbsp;Piano</strong> <br />Demonstration:&nbsp;Chung Chi-woo<br /><br />Although Fan Kuan and J.S. Bach lived in different eras over 700 years apart, their works whether in macroscopic structure or microcosmic details, have many similarities.&nbsp; This lecture will explore the intersection of "Travelers Among Mountains and Streams" and "The Art of Fugue", two masterpieces in the history of Chinese painting and Western music.<br /><br /><br /><br /><strong>19&nbsp;Sep&nbsp;(Fri)</strong><br /><strong>Lecture 3&nbsp; &nbsp;Transcendent Elegance: Ni Zan and Mozart&nbsp;Piano</strong> <br />Demonstration:&nbsp;William Ting<br /><br />Ni Zan was an introvert from the Yuan Dynasty.&nbsp; His paintings are peaceful, quiet and filled with elegance.&nbsp; His brushstrokes are simple but profound. &nbsp;In contrast, Mozart was an extrovert.&nbsp; His music is energetic, graceful and straightforward on the surface level, but complex and sophisticated on a deeper level.&nbsp; This talk attempts to uncover the inner world of the two artists and to explore the meanings as well as the aesthetic similarities behind their works.<br /><br /><br /><br /><strong>26&nbsp;Sep&nbsp;(Fri)</strong><br /><strong>Lecture 4&nbsp; Visual Melodies: Sound and Music in the Paintings</strong>&nbsp;<br />Guest Speaker and&nbsp;Qin&nbsp;Demonstration: Chung Siu-sun<br /><br />One may not aware that in addition to viewing, Chinese landscape painting can also be listened to.&nbsp; These audible elements include both the "diegetic-sound" belonging to the characters inside the painting and the "non-diegetic sound" belonging to the viewers in front of the painting.&nbsp; On the other hand, some Western painters are also masters of "drawing sound".&nbsp; Not only did they write melodies and harmonies, but also integrate musical forms into the painting.<br /><br /><br /><br /><strong>10 Oct&nbsp;(Fri)</strong><br /><strong>Lecture 5&nbsp; Ancient Worshipping: Dong Qichang and Brahms</strong>&nbsp;<br />Piano Demonstration:&nbsp;Chung Chi-woo<br /><br />Since their emergence in the 1920s and 1930s, pan-China Chinese orchestras established in full imitation of Western orchestras have been a subject of exploration and research for those who are interested in developing new Chinese music in China and even Chinese communities around the world. &nbsp;Musical genius Ng Tai-kong was one of them. &nbsp;How did this legendary figure establish a professional Hong Kong Chinese Orchestra in the city? &nbsp;What exactly is the 'symphonisation' that he proposed, and why did it become so controversial? &nbsp;Let us look back on this period of history.<br /><br /><br /><br /><strong>17 Oct&nbsp;(Fri)</strong><br /><strong>Lecture 6&nbsp; The Beauty of Ugliness: Shitao and Beethoven</strong>&nbsp;<br />Piano Demonstration:&nbsp;Chung Chi-woo<br /><br />Shitao and Beethoven are two artists with strong "self-conscious".&nbsp; Their works are rebellious and full of tension.&nbsp; Occasionally, they even regard ugliness as a kind of beauty, subverting the tradition of their time.&nbsp; As a general viewer or audience, how should we appreciate these "ugly" creations?<br /><br /><br /><br /><strong>24 Oct&nbsp;(Fri)</strong><br /><strong>Lecture 7&nbsp; Deliberate blank: Silence and Emptiness in Music and Painting</strong>&nbsp;<br />Piano Demonstration:&nbsp;Chung Chi-woo<br /><br />"Deliberate blank" is a unique technique in Chinese ink painting.&nbsp; The blank space not only inject "spiritual energy" into the painting, but also open up infinite imagination for the viewer.&nbsp; On the other hand, Western composers also demonstrate their mastery of using "empty space".&nbsp; They can often express various concepts through different uses of "silence", giving the music a deeper meaning.<br /><br /><br /><br /><strong>31 Oct&nbsp;(Fri)</strong><br /><strong>Lecture 8&nbsp;&nbsp;Inner Beauty: Fou Ts&rsquo;ong and Huang Binhong</strong>&nbsp;<br />Piano Demonstration:&nbsp;William Ting<br /><br />People often say that Fou Ts&rsquo;ong&rsquo;s piano playing is full of oriental interest.&nbsp; However, most of these discussions are mainly about how the pianist uses Chinese poetry to compare the works of Mozart, Chopin, Debussy, among others.&nbsp; This lecture will explore how Chinese culture can be reflected in Fou Ts'ong's musical interpretation as well as his performance habits, and in what ways they are related to Huang Binhong&rsquo;s paintings.<br /><br />(Information provided by the speaker.)<br /><br /><br />Conducted in Cantonese. Free seating.&nbsp;<br /><br />The programme does not represent the views of the Leisure and Cultural Services Department.&nbsp;<br /><br />The presenter reserves the right to change the programmes and substitute the speakers or demonstrators.&nbsp;"}]}