The notion of "Orientalism" in the modernization movement of Chinese painting of Hong Kong artists in 1960s: The case of Hon Chi-Fun

The article first outlines the cultural background and situation of Chinese artists in the colonial Hong Kong in the 60s. Their frustrated claims for development and evolution of Chinese painting and aesthetics were expressed and concluded by their representative and leader, Lu, who suggested and pr omoted a controversial notion of "Orientalism". Different from that of Edwa rd Said, Lu's notion implied a modified version of nationalism. The influen ces and practices of Lu's theory are examined, including his oppositionals. The presentation then introduces the case of Hon Chi-fun's artistic practi ce. Hon illustrated a unique way of being "Oriental", both in his artistic experiments and beliefs. His case is followed by readings and analyses from the philosophical, psychological and cultural angles utilizing theories of Western and Chinese aesthetics, psychoanalysis and post-colonialism. The a uthor discusses the problems of transnationalism and transculturalism in co ntemporary aesthetics from a Hong Kong experience.