话语 / Curatorial Message 策展人：锺金钩 博士 / Curator: Dr. Choong Kam Kow

2015 年 12 月 10 日风和日丽的上午，我们亚洲艺术家协会 各国委员会主席一行七人，在广州美术学院大学城美术馆馆长左正尧的要请下，参访了该馆的中美陶艺展，过后，我们到馆长办公室品茗名茶和叙旧。同时也集焦欣赏办公室里所陈列左馆长的陶艺作品，听他细说陶艺造型的掌握和自行开发的神奇釉彩效果。艺术家相聚在一起，话题当然离开不了艺术创作，有意无意之中，我们进行了创意的交流。 On the fine morning of 10 December 2015, a group of seven Country Committee Chairmen and representatives of the Federation of Asian Artists, under the invitation of Director Zuo Zhengyao, made a visit to the University City Art Museum (UCAM) of Guangzhou Academy of Fine Arts (GAFA) to view the China-America Ceramics Exhibition. After the viewing, we gathered at the Director’s office for fine tea and chit chat. At the same time, we were drawn to focus on the fine ceramic works by Director Zuo Zhengyao which were displayed at the office. We listened to Director Zuo’s introduction on how he created the forms and developed the intrinsic and marvellous effect of glazing. As usual, when artists gather together, the topics of conversation would naturally touch on art creation, and a kind of un-intentional and unaware exchanges took place. 我们的话题也牵涉到亚洲当代艺术的当下情况和潮向，因为我们那次到广州市是受到广东美术馆的邀请，出席该馆主办的首届亚洲双年展开幕式，同时也出席了亚洲艺术家协会中国委员会主席罗一平教授主催的亚洲艺术家协会各国委员会主席会议, 商议和探讨在中国举办第二十九届亚洲国际美术展 的事宜，由于越南无法兑现在 2014 或 2015 年承办第 29 届亚洲国家美术展，造成掉链现象，使大家无法像过去一年一度的在这个艺术盛会上相聚交流，都感到很失望。 Our conversation touched more on the situation and trends of Asian contemporary art as we were invited to Guangzhou by the Guangdong Museum of Art to attend the official opening of the 1st Asian Biennale as well as to attend the Asian Federation of Artists Country Committee Chairman Meeting (FAACCCM) convened by Prof. Luo Yiping, the China chapter’s Chairman to review and explore the possibility of having the 29th Asian International art Exhibition (AIAE) to be held in China. It was due to the Vietnam Committee’s failure to materialize their promise to host the 29th AIAE in 2014 or 2015 which caused the break of the yearly exhibition chain. The FAA Chairmen and fellow artists were disappointed for unable to meet yearly at this international art event as in the past years. 在整个上午的茗茶和重聚叙旧中，大家都认为这当前的情势中，我们在这些个国家很需要联合起来，举办一个国际艺术展览会，让各国艺术家展示作品，继续保持联系和交流创意思维。左正尧馆长点了我的名，希望我能够筹划一项国际展览活动，让大家会集在一块的平台，展示创作成果，交流心得。广州美术学院大学城美术馆可以承办和负责接待畫家并承担相关展覽经费。 In that morning’s re-union and tea section, we all felt strongly that under the current situation, we need to work together to organize some kind of international art event or exhibition to maintain link and for fellow artists to showcase their works, and forge continuous exchanges. I was suggested by Director Zuo to explore and organize such art exhibition as the platform for artists to get together to showcase their creative fruits and further promote artistic exchanges. University City Art Museum of GAFA would provide exhibition space, facilities and funding to host the exhibition. 这是亚洲艺坛一项很有意义的任务，我欣然接受了左馆长的指派，挑起筹备策划的工作。当时大家想到的是一项国际联展兼艺术论坛的活动，虽然规模不一定要像亚洲国际美术展 (AIAE) 那样大，但筹备起来也相当费劲的。幸亏多年来我在推动亚洲当代艺术，和策划展览方面作出了一些努力，经常和各国画家接触，建立了深厚的友情和人际关系，相信在进行筹划时不会有太多的困难。 I was glad to accept Director Zuo’s assignment to organize the event as it would be a very meaningful task. We all immediately thought of an international art exhibition cum forum. Although the scale may not be the same as the AIAE, however, the task would be quite challenging. Fortunately, I have been working for many years on promoting Asian art and put in a lot of efforts in organising numerous Asian international art exhibitions. These activities had made possible for me to have constant contacts and built cordial relation and friendship among artists in Asia. I believed that it would not be too difficult to proceed with the planning. 当时我和大家分享了初步的策划概念，基本上我们沿用亚洲艺术家协会 (FAA) 过去 30 年来筹办亚洲国际美术展的精神，理念和方法，就是利用各国艺术家的艺术资源，财力和能力，以自力更生的原则，互相协助来筹办这项国际艺术活动。因为一路来，各国委员会都是秉承自助互惠的精神，参与展出。画家到主办国出席开幕和艺术论坛的旅费和住宿，都是自己承担，除非是得到有关政府或私人机构的赞助。我们认为艺术家们不一定要依赖国家官方的承办和资助，一样可以承办或参与国际大展，协助政府在国际平台上推动艺术交流，弘扬国家的文化艺术，建立形象。当然，也欢迎官方或私人机构的赞助，协助减轻负担。实际上，也有不少国家的委员会曾经得到有关政府的官方赞助，提供经费，减轻负担 ，促成主办或参展这项已经越来越受人重视艺术盛会。在亚洲艺术家协会的领导主催下，30 年的活动合作成果， 是大家有目共睹的。 On the spot, I shared some of my initial ideas with every one that was to follow the spirit, concept and strategies practised by FAA in organising the AIAEs in the past 30 years. The FAA philosophy was, and still on going, is that the artists themselves can get together to exploit their own capability, resources, and strengths with collective efforts to organize or participate in international art exhibitions. In a way it help their respective countries to promote art exchanges, fosters national culture and national image on the international platform without having depending solely on the governmental efforts, involvement and financial spending. The costs of transportation of works and exhibition catalogues publication and the travelling and accommodation expenses to attending the official opening were all borne by participating artists themselves. Any governmental subsidies, aids and any means of supports were most welcome. Some member countries did managed in the past to obtain some sponsorship in kinds from their governments or private corporations to lessen their artists burden to make possible for artists to host or participate in the AIAEs in FAA member countries. It worked well under the management of FAA in the past 30 years of running. 我们一向认为作为艺术家，不能自我孤立在本国的艺术圈内，自大自满，孤芳自赏。必须不断通过各种艺术活动管道走出国门和其他国家的艺术家互相接触，通过互动交流，才能提升艺术创作的水平和促进艺术的互相了解。尤其是在 21 世纪数码资讯时代，在全球化的环境中，国与国的边界，是越来越模糊和失去重要性，国与国之间交通快捷，信息传达，交往密切和而渐趋共通共存的局面。加上中国所倡议的一带一路经济合作概念，集焦在各国间的基础建设，扩展商贸和加強文化交流。现在不但已经得到陆地和海洋丝路沿途国家，同时也得到欧洲和非洲众多国家的支持，积极的逐步落实。在把这些国家打造成为一个完整強大的经济体的过程中，无可否认的，文化和当代艺术也将扮演重要的角色。 All along we believe that artists cannot afford to be contained in their own country ‘s art territory isolating themselves with national pride and complacency. Instead, artists should always step out of their national door to maintain close contacts with artists of different countries. Only through artistic interaction and exchange that standard of art can be improved and the mutual understanding of artistic endeavours of each other can be deepened. It is more so in the digital information age of the 21st century. In the global environment, the border between nations has become blur and insignificant. There are faster movements, rapid communication, greater mutual exchanges and closer ties between nations with greater fusion in art and culture these days. Moreover, the initiative of “One Belt One Road” economic belt proposed by China in 2013 has received tremendous supports not only from the land-based and ocean-based silk roads countries but also by many countries from Europe and Africa. It will focus on building infrastructures, broadening trades and increasing cultural exchanges among the Silk Roads nations and the rest of the world. In the process of implementing the proposal to transforming these nations into a cohesive economic area, it cannot be denied the culture and contemporary art will play a very significant role. 东亚各国和中亚，西亚及欧洲各国互相交往链接及商贸活动，可以回溯到公元前一世纪左右。最先是依赖区域内的先民开发的草原通道，后来再加上陆上和海上丝绸之路的开拓而达成的。中国西汉时代，张骞两度出使西域，打通了中国及周边国家和中亚，西亚与欧洲的商道，成为后来的丝绸之路。历代以來，促进了东亚和中，西亚及欧洲各国之间的友好关系和商贸活动，中西亚和欧洲的商人带来各种香料，造型精美的金银和珠宝装饰物品，也传来了他们的文化习俗和宗教信仰。以中国为主的商人则向西域各国推销精美的丝绸，瓷器和茶叶和药材产品。在长期的商贸中，也建立了文化艺术交流的桥梁。印度的佛教和中东的回教的东传，中国古代四大发明如造纸，指南针，火药和印刷术，也因丝绸之路而得以传到西亚和欧洲。中国玉门关遗址，交河故城和敦煌壁画，以及无数出土的木，陶，瓷 ，铜，铁 和石的用器和雕刻的文物，就是中西文化交流所遗留下来的丰硕文化遗产，足見文化艺术在丝绸之路所扮演角色。 The connectivity and trade activities between Eastern Asian nations and Middle and Western Asian nations as well as Europe may be dated back to about a century BC by ways of grass plateau passage developed by natives along the regions and later by the land-based and ocean-based Silk Roads. During the Chinese West Han Dynasty, envoy Chang Qian was sent by the Han emperor to make diplomatic visit twice to the nations in the Western Region which had resulted in building friendly connectivity with many nations there. His visits had opened up the trade passage between China , Middle and West Asian regions and contributed to the eventual expansion of the trade passage, later to be known as the land-based Silk Road. The development of the Silk Road throughout the centuries had fostered friendly relations among the nations along the Silk Road and promoted international trades and cultural exchanges. The merchants from Europe, West and Middle Asia brought along with them spices, gold, silver and precious gem stone with beautiful craftsmanship for trade. They also brought with them their cultural and religious practices. On the other hand, the Chinese merchants would trade with the foreigners their exquisite silk, embroidery, tea, medical herbs and porcelain products with sophisticated design. The spread of Buddhism and Islam to China and other parts of East and South-East Asia, and the introduction of China’s four ancient inventions of compass, printing, gun powder and paper making techniques to Middle Asia, West Asia and Europe were the results of the opening up of the Silk Roads. The ruin of Yumen Guan, Jiaohe old city site and the treasures of Dunhuang murals in China as well as the countless unearthed artefacts and relicts of wood, pottery, ceramic, iron, bronze and stone wares and carvings is the evident legacies passed down by the Silk Road trading and exchanges. It also reflects the significant roles of art and cultural exchanges and assimilation played in the Silk Road trading activities. 另一方面，东西亚，中东，地中海，南欧以及北非的海上航道，在汉朝时已开始。唐朝咸丰二年（671 年）义净法师从齐州出发，在海上漂流了八个月，经广州，苏门答腊，马来西亚南端和北部吉打到印度去学习佛法，率先打开海上航道。明朝永乐皇帝复于 1405 年至 1433 年间，派遣郑和率领庞大商船和人员，七次下西洋，更进一步开拓了海上丝绸之路，向沿途各国宣扬善意，建立友好关系，也相互的促进了文化艺术交流。 On the other hand, the oceanic passage between East Asia and South West Asia had been opened since the Han Dynasty. It was in the 2nd year of Xian Feng (671 A.D.) of Tang Dynasty, a Buddhist priest named Yi Jing started his oceanic journey from Qizhou, China and sailed through Guangzhou, then drifted on high sea for eight months. He then passed through Sumatra, southern and northern Malay Peninsula, (now Johor and Kedah) and headed for India to study Buddhism. His to and fro India voyages had indeed further opened up the oceanic passage from China to West Asia, Southern Europe and Northern Africa through the East and South China Sea and the Indian Ocean. From 1405 to 1433, Yongle Emperor of Ming Dynasty ordered Admiral Zhenghe to command the Ming Dynasty's fleet of immense trading vessels on expedition visit for seven times to countries along the coasts of South China Sea and Indian Ocean ranging as far as Africa. Admiral Zhenghe’s oceanic expeditions had further enhanced the Maritime Silk Road by establishing nation-to-nation connectivity, international trading and promoted goodwill and cultural exchanges among all the countries he visited. 由于后来明朝认为郑和下西洋浪费资源而实施海禁，影响了数百年来海上丝绸之路的进一步发展开拓。到了 19 世纪，海上丝绸之路航行才渐趋活跃，并引发了中国的移民潮，到被西方列强殖民统治的东南亚寻求更美好的谋生环境，原先是到橡胶园和锡矿场当劳力，后来有许多选择长久居住下来，继而落地生根，成为在地的居民。由于中国的移民很刻苦又勤劳，又善于经营商贸，而逐渐转行，经营杂货，小型商品制造及出入口贸易等商业活动，由小而大，不断开拓发展而成为大规模的商品交易，种植业和商品制造业的活动，在促进在地的经济繁荣上，作出贡献。同时，很自然的也把他们的文化习俗和宗教信仰，带到侨居地，继续发扬，也和当地的文化融汇，直接的丰富了在地的文化艺术和生活习俗，在东南亚各地促成了多元的混合文化特征。 Due to the Ming Dynasty Emperor who later came to realize that the Zhenghe oceanic expeditions were wastages of national resources and decided to forbid any scale of sea voyages which had stagnated the Maritime Silk Road activities for few hundred years. However, from 19th century onward, the Maritime Silk Road became active again. It attracted waves of Chinese to travel through the South China Sea to seek better living conditions in South East Asia where most countries there were colonized by Western strong powers. Primarily, they went there to work as labourers in rubber estates and tin mines. Many eventually decided to stay on and rooted locally to became permanent residents. They were industrious people who can overcome hardships and took up challenges. Over the years, some established small scale trading business and cottage industry and goods manufacturing making contributions to the economy and social development of the residing countries. At the same time they brought along with them their cultural and religious practices to mingle with the local inhabitants which further enriched and helped to give birth the hybrid of multi-culture in many South East Asian countries. 2013 年当中国领导人习近平主席国事访问中亚时，倡议建设丝绸之路的经济带，重新构建东亚和中亚各国的经济建设，加强各国双边商贸 和激活文化的交流。同年，他在访问印度尼西亚时又提出开拓21 世纪海上丝路的经济带倡议，更进一步激活东亚，南亚，中东，东欧和北非的经贸和文化交流. During his official visit to Central Asia in 2013, China’s Chairman Xi Jingping proposed to build a new Silk Road Economic Belt in order to develop infrastructures and economics, broaden international trades and increase cultural exchanges among the countries in the Region. In the later part of the same year, during his visit to Indonesia Chairman XI JIngping made another proposal to build the 21st century Maritime Silk Road Economic Belt. This initiative has further re-activated the trading and cultural exchanges between China as well as other East Asian countries and the rest of the world. 在这样庞大的国际合作计划中，正如古代的丝绸之路一样，可以肯定的文化艺术仍然也将扮演一个非常重要角色。因此，在全球化大环境中和一带一路的合作精神和概念下，我们作为艺术家和教育家，也必须把握时机，以行动做出响应，并以民间艺术家的身份和自力更生的精神，和有关国家文化机构合作，作出努力，共同加强我们各国间的文化交流，使我们对彼此间的当代文化艺术有更大的互敬互动，更深的了解和密切的合作，致力提升和发扬我们亚洲的当代艺术。通过视觉阐述和表达亚洲画家对当代的政，经, 文，教的课题看法，深化创作手法，充实当代艺术内容，展示亚洲创作精神和特征。 Under such a mega international cooperation project, we are sure, just as the same in the ancient Silk Roads, the culture and art will doubtlessly play a vital role. Under the global environment and the cooperative spirit of the One Belt One Road initiative, we, as artists and art educationists must grab the opportunities to response and act accordingly. In the capacity of civilian artists and educationists with independent self-help spirit inherited by the AIAE of FAA, we must make efforts to collaborate with the relevant countries to strengthen cultural exchanges so that we can have greater mutual understanding, interaction, respect and collaboration in order to elevate and promote our Asian contemporary art. Through visual interpretation and expression to convey our Asian artists’ views on political, economic, social, cultural and religious issues to innovate and generate new expression strategies for the purposes of enhancing the standard and enriching the contents of Asian contemporary art. 现在，让我们回头看看那次在场的几位教授和艺术家所代表的国家的地理位置，我们发觉这些国家也正好坐落在一带一路的沿途上：左正尧馆长来自中国，Adiyabazar Chadraabal 馆长来自蒙古，Setiawan Sabana 教授来自印度尼西亚，宇田川宣人教授 (Prof. Noriton Udagawa) 来自日本，李娜琼教授 (Prof. Lee Na-Kyung) 来自南韩，画家林俊能 (Lim Choon Jin) 来自新加坡 ，我本人来自马来西亚。其他不在场的代表还有画家 Pandy Aviado 先生来自菲律宾，Somporn Phanthong 女士来自泰国，Pham Huy Thong 先生来自越南 。 Now let us take a look at the geographical positions of the home countries of our professors and artists who were there at the gathering on that day, you will find they all located along the land-based and ocean-based Silk Roads: Director Zuo Zhengyao from China, Director Adiyabazar Chadraabal from Mongolia, Prof. Setiawan Sabana from Indonesia, Prof. Noriton Udagawa from Japan, Prof. Lee Na-Kyung from S. Korea, Lim Choon Jin from Singapore, myself from Malaysia, those who unable to be present were Mr. Pandy Aviado from The Philippines, Ms. Somporn Phanthong from Thailand and Mr. Pham Huy Thong from Vietnam. 因此，我把这项艺术活动定名为 “亚洲丝链美术展”。美术展将在广州美术学院大学城美术馆展出，主办当局将举办为期 3 天活动节目，包括开幕式，艺术论坛和参访文化艺术景点。除了展示作品外，艺术论坛是一项重点活动，各国协助策展的教授和画家将提呈文章或报告，在论坛上发表，分享，甚至辩论，以作为深化艺术思维的沟通和交流。自费前来出席开幕式和艺术论坛的各国艺术家，也会被安排参观主办国的美术馆，文化景点和历史遗迹，使他们对主办国的文化艺术有更深的认识。由于展览场地空间所限，每个参展国只限五位艺术家参与展出，有特殊情形的可以多加一位，主办国家或机构可以推荐十位艺术家参与，每人展出两件作品。由每一参展国的副策展人推荐。副策展人则由主任策展人委任。 I, therefore, adopted the the title of the exhibition as ASIAN SILKLINK ART EXHIBITION (ASAE). The event will be held at the University City Art Museum of GAFA. It will organize and host a 3-day cultural activities inclusive of the official opening, art forum and visits to museums and places of art and cultural interests in guangzhou. In addition to showcasing art works at the museum, another important event will be the art forum to be held in conjunction with the month long exhibition. Numerous art professors and artists will be invited to present papers with slide shows on contemporary art of their countries, or to elaborate on their presentation of works in the exhibition. The art forum will act as the platform where views and opinions on creative thinking can be shared, discussed and even debated to deepen artistic understanding. Although the participating artists coming to attend the official opening and art forum will bear their costs, they will be hosted and organized to visit art museums and places of cultural interests in Guangzhou so that they can have a fair view of culture and ways of life of the Chinese there. Due to the limitation of space, only five artists inclusive of the Associate Curator per country will be invited to participate by presenting two works each. Certain countries may be allowed to present an additional participant where condition warrants. The host country or institution may present ten artists in the show. The Chief Curator will appoint an Associate Curator for each country to help select and recommend the artists to the hosting Museum and the Chief Curator. 亚洲丝链 艺术展和论坛的宗旨有三点： 一，提升和强化海陆丝路沿途亚洲区各国之间的文化艺术链接 二，弘扬推广亚洲当代艺术 三，促进亚洲当代艺术家之间的交流和创作理念的分享 The aims of Asian Silklink Art Exhibiion are as follow: 1. To strengthen cultural and artistic links among Asian nations along the land-based and ocean-based Silk Roads 2. To promote Asian contemporary art 3. To foster exchanges and the sharing of contemporary creative ideas among the Asian artists 我们把展览的主题定为反映亚洲。参展艺术家可以根据本人的理念，观点，经验及手法对任何亚洲事态，社会课题或文化价值予以视觉表述。我们予期亚洲各国画家将会尽量发揮，在作品中展现自身表现手法和美学观点。使本项展览成为海陆丝路沿途的亚洲区不同土地上的价值和特色的艺术表现和交流平台，是具有深長意义的。 The theme of the exhibition is ASIAN REFLECTION. The participating artists may interpret and reflect broadly their native ways of life, social and cultural values on any matters or issues based on their own ideas, views, experience, opinions, feelings or attitudes and methods. It is anticipated that the native Asian characteristics will evolve and appear in their works making this international art exhibition a very a significant platform for visual expression regarding national cultural values, social conditions and current issues of countries along the land-based and ocean-based Silk Roads of Asia. 这次，亚洲丝链国际美术展，能得到十个国际的艺术家参与，分别在中国广州美术学院大学城美术馆及南京师范大学美术馆举行，就是和一带一路框架和精神有关国家文化艺术机构合作的一个例证。我对左正尧馆长和张正民馆长的支持与合作以及他们馆内团队的配合和努力，使这项美术展能够成功展出，表示衷心感谢，同时，我也诚心的感谢各国的副策展人如Adiyabazar Chadraabal 馆长（蒙古)，Setiawan Sabana 教授（印度尼西亚），宇田川宣人教授（日本），画家林俊能（新加坡），李娜琼教授（南韩），Ms. Somporn Phanthong 女士（ 泰国），画家 Pham Huy Thong（越南）及王秀媛女士（中国）在协助策展方面所作的努力，合作和贡献，才能使亚洲丝链美术展，顺利落实，十全十美的展出。 We are glad that ten countries including China, Mongolia, Indonesia, Japan, South Korea, Singapore, Malaysia, The Philippines, Thailand and Vietnam have accepted our invitation to take part in the exhibition. The Asian Silklink Art Exhibition will be held at the University City Art Museum of Guangzhou Academy of Fine Arts in Guangzhou and later at the Nanjing Normal University Art Museum in Nanjing respectively. This is an excellent example of collaboration with relevant national art and cultural institution under the One Belt One Road initiatives and spirit. I would like to extend my sincere appreciation and thanks for the cordial supports and cooperation offered by Director Zuo Zhengyao and Director Zhang Zhengmin and their staff members during the process of organizing the ASAE. My sincere thanks also go to all the Associate Curators including Director Adiyabazar Chadraabal (Mongolia), Prof. Setiawan Sabana (Indonesia), Prof. Norito Udagawa (Japan), Mr. Lim Choon Jin (Singapore)，Prof. Lee Na-Kyung (S. Korea), Ms. Somporn Phanthong (Thailand) and Mr. Pham Huy Thong (Vietnam) for the efforts and cooperation they rendered to make the ASAE successfully and perfectly materialized and held in Guangzhou and Nanjing.

Front row from left / 前排左起： Prof. Setiawan Sabana (印度尼西亚 / Indonesia), Dr Choong Kam Kow / 锺金钩博士 (马来西亚/Malaysia), Director Zuo Zheng Yao / 左正尧馆长 (中国 / China), Prof. Norito Udagawa / 宇田川宣人教授 (日本 / Japan) Back row from left / 后排左起： Left 1: Ms Wang Xiuyuan / 王秀媛 (中国 / China), Left 3: Director Adiyabazar Chadraabal (蒙古 / Mongolia ), Left 4: Mr. Lim Choon Jin / 画家林俊能 (新加坡 / Singapore), Center: Prof. Lee Na-Kyung / 李娜琼教授 (南韩 / S. Korea), Right 1: Ms. Lu Jingxiao / 路景肖（中国 / China)