LUI SHOU-KWAN

Born in 1919 to a scholarly family in Guangzhou, Lui grew up immersed in the study of ancient masters. His relocation to Hong Kong at age 28 broadened his artistic horizons, allowing him to blend traditional Chinese influences with Western ideas. This evolution established him as a trailblazer in Chinese art and a founding figure of the New Ink Movement. This exhibition showcases rarely seen works from the Lui family’s private collection, offering examples throughout his artistic career, including landscape paintings of Hong Kong, semi-abstract landscapes, and his abstract Zen paintings.

****The Artist

****Lui’s fierce advocacy for individuality marked his artistic innovation, prompting him to explore diverse vocabularies and styles while remaining rooted in Chinese ink painting. In the early years, Lui found time for painting between working as an inspector at the Hong Kong and Yaumatei Ferry Company and moonlighting as an art tutor. He captured the natural scenes of Hong Kong in en-plein-air sketches and landscape paintings. He experimented freely with different brush strokes, and between figuration and abstraction. Abstract—Xinmao Spring (1951) is one of the earliest examples of the artist’s exploration of abstraction.

The Teacher

****As Lui gained more recognition in the burgeoning Hong Kong art scene in the late 1950s, he actively engaged with local and international art groups and began developing a system of pedagogy writing newspaper columns and formal teaching appointments. As an educator, Lui emphasised the importance of studying classical Chinese masterpieces. His “study paintings,” such as After Ren Bonian (1964) and After Shitao: Pines in Light Rain (1968), exemplify this commitment. Lui himself never abandoned studying and copying ancient masters, which, he believed, played a significant role in his continuous learning, teaching and self-actualisation.

The Scholar

****Lui’s scholarly contributions are encapsulated in various published books and manuscripts, and copious amounts of personal notes and unpublished writing—some on display in this exhibition. Works like Landscape (1972), in which he articulates the fundamental principles of Chinese painting, are also clear demonstrations of his scholarly development. His inscription emphasises the understanding of the dot and line in the creative process, advocating for individuality within the framework of traditional techniques.Fifty years after his untimely death in 1975, his influence on Chinese art continues to expand. Lui championed personal expression and exploration, leaving a lasting impact on the evolution of ink painting. This exhibition stands as a testament to his enduring legacy.