The Chinese zodiac comprises 12 animal signs. People born in a certain year are said to possess the characteristics of the animal of that year. For example, those born in the Year of the Dragon are believed to have fiery tempers and imperial bearing, while those born in the Year of the Monkey are supposed to be lively and intelligent.

In Hong Kong, the Year of the Horse made its resounding entry amidst firework display, turnip cake steaming, and red packet exchanging in mid-February 2002. Known for its sweet nature, elegance, and speed, the horse is a symbol of vitality, moderation, and advancement. At The Chinese University, the new year was ushered in by an exhibition at the Art Museum that has as its theme the animal of the year. Artefacts in the shape of horses and paintings of horses are displayed to celebrate the return of this friendly animal after 12 years. Thematic Chinese New Year greeting cards have also been produced, and quickly sold out.

On display at the Art Museum are several pottery horses from the Han to the Tang dynasties. The largest one is a four-feet-high grey pottery horse from Eastern Han (25-220), showing the well-proportioned and robust body of a 'blood-sweating heavenly horse' (see Picture 1). Known for their amazing speed, stamina, and robustness, these creatures became the model for paintings and sculptures after the Western Han period (206 B.C.-24). Ms. Lai Suk-yee, assistant curator at the Art Museum, explained that according to a well known legend, the horses literally sweat blood because when they gallop at full speed, their sweat is mingled with blood from the veins on the surface of their skin, which renders it pinkish. Another scholarly explanation has it that a parasite on the horse's skin, when mixed with sweat, turns the latter red. These horses were imported into China from the Ferghana valley, in the region where Kyrgyzstan, Tajikistan, and Uzbekistan now stand. With smaller heads, slender necks, and longer legs, these animals were very different from the domestic breed in China since the Zhou and Qin dynasties --- the squat Mongolian pony with its short limbs, sturdy neck, and large head, which were the models for the burial horses unearthed alongside the renowned terracotta warriors of the Qin dynasty. There are two small toy-like steeds with riders in brown glaze and of Changsha ware from the Tang period (618-907) in the exhibition, which show mixed features of both breeds (see Picture 2, top left).

Horses under trees, crouching, or with a monkey, brought to life under the exquisite brushwork of Guangdong artist Zhang Mu 張穆 (1607-1683), are also on display in album leaves and scrolls. Other paintings include the traditional, two-dimensional Horses in the Style of Hua Yan (dated 1916) by Ni Tian 倪田 (1855-1919), The Steed Hualiu in Wind and Rain (dated 1925) by Gao Jianfu 高劍父 (1879-1951), founder of the Lingnan School, whose considerations for depth, perspective, texture, and impressions of movement indicate Western influence, and a caricature version of Su Changgong Riding a White Horse (dated 1968) by Ting Yin-yung 丁衍庸 (1902-1978).

The largest painting in the exhibition is a horizontal scroll (see Picture 3) by an unknown court painter in the mid- to late Qing period (19th century) who most probably painted with the works of Lang Shining 朗世寧 (Giuseppe Castiglione, 1688-1766, a Jesuit brother working at the Qing court) as prototype. The three-dimensionality, colour, and movements of the steeds are all reminiscent of his style. The painting shows a sensitive merging of Western realism with the subtlety of Chinese ink-brush paintings.

All these exhibits come from the museum's collection and are now shown as part of the Art Museum's 30th anniversary exhibition, which includes other items featuring auspicious motifs such as bats, whose Chinese pronunciation is the same as that for 'good fortune' (福), and peaches, which signify longevity. The highlights are a large blue and white vase with the Chinese character for longevity (壽) written ten thousand times, not once more or less, all over it (see Picture 4), and a screen with a painting of elaborate birthday celebrations for a man of an affluent family on one side, and those for a woman on the other (see Picture 5).

At the start of every Lunar new year, relevant pieces are selected from the Art Museum's collection of over 10,000 pieces of Chinese art, which it has acquired over the years, for the staging of exhibitions of this sort. The collection includes paintings and calligraphy, rubbings of ancient calligraphy, seals, ceramics, jades, bronzes, lacquerware, and objects for the scholar's studio from the Neolithic to the modern periods. The museum also loans items from private collectors as well as important museums on the mainland for thematic exhibitions.

Established in 1971 as the Art Gallery, the museum is housed in the Institute of Chinese Studies, the second oldest building on central campus. It has served as a university museum and a research centre for Chinese art and antiquities. Every year, on top of research and teaching, it mounts special exhibitions and organizes lectures and other activities along with semi-permanent displays of its collection, to promote the appreciation of Chinese art and culture.

Supporting the museum in its work is the Friends of the Art Museum, founded in 1981 to help organize workshops, tours, and lectures for the public, and to train docents for guided tours. There are now some 700 to 800 'friends' who frequently make donations for the acquisition of artefacts and useful facilities such as audio-guides.

The Art Museum holds some of the most culturally valuable treasures in the University, and perhaps Hong Kong, yet, like other museums in the territory, could better realize its functions of educating, inspiring, or simply pleasing the eye, if this city was more interested in its own and other people's histories and more patient with the less sensually provocative forms of culture. Ms. Lai Suk-yee says, 'In their free time, if they want to do something "cultural", people go to the movies or even pick up a book, but not many will think of going to the latest exhibition at one of the many museums in Hong Kong.' Visiting museums is one of the best ways to get to know a culture, and in the case of the CUHK Art Museum, traditional Chinese culture, through art. Yet kindling that kind of interest or curiosity has to start from primary school, Ms. Lai believes, and it is only with a museum culture in place that Hong Kong can have more appreciative museum goers, and its museums can have the incentive to improve.

Perhaps a tour to the University's Art Museum to see the horses is a good start for some of us. Docent guided tours in English can be booked Monday through Saturday by contacting the docent scheduler of the Friends, Davina Francescoti, at 2813 5402. Wish to join a guided-tour in Cantonese? Go there on 20th March (Wednesday) at 1.15 p.m. You won't be disappointed.●

Piera Chen

CUHK Newsletter, 198, 4th March 2002