The drawing, painting and calligraphy artists from Cheung Chau Island

RANGE EDUCATION CENTRE:
“THE DRAWING, PAINTING AND CALLIGRAPHY
ARTISTS FROM CHEUNG CHAU ISLAND”
Vincent LEE Kwun-leung ( 李冠良 )
{Source of photo: “Dim Dim Cheung Chau”}

Contents
 Jat Sze Yiu (Chinese calligraphy)
 Foo Sai Heng (Chinese calligraphy, self-expressive Chinese painting)
 Wong Pui Kong (Modern Chinese ink painting)
 Brenda Hong Ngan-ping (Modern and contemporary Chinese ink painting)
 Chui Pui Chee (Chinese calligraphy)
 Patrick Cheung Hoi-yan (Watercolour painting, illustration and oil painting)
 Vincent Lee Kwun-leung (Acrylic painting, illustration and contemporary
Chinese-ink painting)
 Takahiko Yoshino (Illustration and Drawing)
 Robert O ‘Brien (Oil Painting, Mixed Media and Photography)
 Wong Pui Suen (Chinese calligraphy)

Jat Sze Yiu ( 翟仕堯 )
 One of the
ten most
renowned
calligrapher
within the
Chinese
Civilization

 From his handscroll
masterpiece called
“Extending the Wings”
( 展翅 ), you can hardly
differentiate the
calligraphic brushstrokes
of the characters from
the vision of self-
expressive Chinese ink
painting.

 His son, called Jat Sew Tong ( 翟紹唐 ), is a
sophisticated lawyer and has ever served as the
Chairman of Independent Police Complaints
Council (IPCC).

 He does not care about the
unconscious reservation of
rough and loosened
brushstrokes. He thinks that
such stubbornness
corresponds with the literary
style called “Golden Stone
Flavor” (Jin Shi Wei, 金石
味 )

 From this photo, Jat Sze Yiu (Left 2) took a photo with Fong Chi Yung ( 方
志勇 ), Director of Hon Wah Hin ( 翰華軒 ) (Middle), a shop specializing in
the handscroll-framing services for Chinese paintings and calligraphies in
Mongkok, during a cultural visit to Mainland China.

Foo Sai Heng ( 傅世亨 )
 He and his wife, called
Szeto Kwan ( 司徒筠 ),
has conducted calligraphy
courses for the Cheung
Chau residents at
Cheung Chau Women’s
Association ( 長洲婦女會 )
near Tung Wan Beach for
a number of years.

 According to the
introduction of CUHK
Alumni Affair Office,
Foo Sai Hang has ever
conducted talks and
Chinese-art
demonstrations at
Spanish Academy of
Fine Arts.

 He is keen at writing
“clerical scripts” ( 棣
書 ). But he intends to
express the “left-
falling strokes” ( 撇 )
and “right-falling
strokes” ( 捺 ) of each
character as “flying-
liked” as possible.

 He stresses the vision of “breath” (qi,
氣 ) from the moisturized lotus leafs,
which are as similar as the lofty tails of
golden fishes and the expanding cells of
jellyfishes inside the aquarium.

 There is a traditional idiom called “The purple breath is spread from the
Orient” ( 紫氣東來 ). In Chinese Civilization, the “purple” colour
symbolizes “auspiciousness”. In European Civilization, the “purple”
colour symbolizes “bourgeoisie spirits” from the noble class. Foo Sai
Heng applies purple smog for describing the atmosphere of sunset
Heaven within the monumental landscape with pine trees.

 He publishes two catalogues for illustrating his fruits in
Chinese painting, calligraphy and seal-engraving pursuits.

 The Tianjin Remin Fine
Arts Publishing Company
Limited ( 天津人民美術出
版社 ) helped Foo Sai
Heng publish a catalogue
for his Chinese paintings.
Foo’s artistic reputation is
spread throughout the art
scene of Mainland China.

Wong Pui Kong ( 黃配江 )
 In 1930, he was born in Macau.
 In 1950, he relocated to Hong Kong and lived on
Cheung Chau Island.

 After his last exhibition at Hong Kong Arts Centre in 1979, Wong
Pui Kong hasn’t organized and participated in any art exhibitions
for more than 30 years.

 On 19 December 2014, the “Macau 10 Fantasia” ( 瘋堂 10 號 ) curated a
solo exhibiton for Wong Pui Kong’s Modern Chinese-ink paintings. Wong
has re-appeared in the Macau art scene, the place where he grew up.

 Dr. Van Lau ( 文樓博士 ) ,
Former Sculpture Lecturer at
CUHK Department of Fine
Arts, named Wong Pui Kong
as “Cheung Chau Wong” ( 長
洲黃 , or “Mr. Wong from
Cheung Chau”). Such
description can be seen from
Dr. Van’s publication called
“A Random Destiny with Fine
Arts” ( 藝緣隨想錄 ).

 “YO! LIFE” describes the aesthetic values of Wong Pui Kong’s
art creations in such manner:
 He uniquely invented the "Nine Palaces" painting methodology
( 「九宮」畫法 ), which he made a reference on the "Eight
Mirrors from the Nine Palaces" ( 《九宮八卦》 ) publication. This
reflects Wong Pui Kong's emphasis on the painting reforms and
the consciousness of innovations.
 Wong manages to portray both figures and landscapes. There is
a tight connection between his tree branches and his apartment
shelters. The horizontal line of land interlaces with the river coast,
and such awesomeness of seperation extends immensely. This
stimulates the splendid growth of habitat. The branches twist with
each other. The rocks are with textures and mysterious features.
These substances convey the implication of reminiscing the rural
sentiments. They also realize Wong's desire for a renewed vision
beyond Realism and Abstractism.
 Hyperlink - http://www.yoliving.com/index.php/tw
/activities-special/18-activities-selected/520-2014-12-13c-tw

 The solo exhibition was initiated by Creative
Industries Promotion Association of St. Lazarus
Church District, with the sponsorship from Macao
Foundation.

 He contributed much to
the development of
Modern Chinese-ink
painting in the 20th
century.
 Without caring too
much for the issue of
delicacies and
proportions, Wong
“sketches” the natural
scenes with either pure
brushstrokes or
moisturized ink
pigments.

 From the Asia Art Archive (AAA), there is a digitalized version for
the Chinese-ink painting catalogue of Mui Chong-ki and Wong Pui-
kong’s joint exhibition at Hong Kong Arts Centre.

 Wong Pui Kong liberates “bai miao” (pure contour drawing, 白描 ) from the framework of
“gongbi hua” (fine-brush painting, 工筆 ). He thinks that, “bai miao” can also be applied
to the narrative expression of monumental Chinese landscapes with textural rocks and
rough tree branches. There can be a sense of childhoodness from the entire self-
expressive (yibi, 意筆 ) vision.

Brenda Hong ( 康雁屏 )
 Brenda Hong Ngan-ping
is:
 President of Contemporary
Innovative Ink Painting
Association (CIIPA)
 Alumnus of Cheung Chau
Government Secondary
School and the Faculty of
Arts at Lingnan University

 Apprentice of Mr. Chan Shing Kau
( 陳成球 ), whom inherits the
Modern Chinese-ink painting spirits
of Master Liu Guosong ( 劉國松 )

 Master Liu Guosong ( 劉國松 , Left 4) persists with great support to
Brenda’s endeavour in prospering her “Contemporary Innovative Ink
Painting Association” (CIIPA), whereas Chan Shing Kau ( 陳成球 ) is
Brenda’s enlightener. Ou Da Wei ( 區大為 , Right 2), a renowned
Chinese calligrapher, is Brenda’s idol.

 Apart from inheriting Modern and Contemporary Chinese-ink painting, Brenda also learns
the techniques of Fujianese Chinese painting and calligraphy from Chong Shui Ming ( 莊瑞
明 ). On 24 December 2012, Chong Shui Ming let Brenda’s “contemporary drunk-lotus
painting” be displayed during the "Devotion to the Realm of Chinese Ink - A Joint Fine Arts
Exhibition of Mr. Chong Shui Ming and His Apprentices" ( 墨海耕耘．莊瑞明師生作品展 )
at Hong Kong City Hall.

 Brenda states that she engages in three different streams of art apprenticeships. The flows of
inheritances are as follows:
 Fujianese Chinese painting: Lu Yanshao ( 陸儼少 , Photo 1)  Zhou Kai ( 周凱 , Photo 2) 
Chong Shui Ming ( 莊瑞明 , Photo 3) {* Landscape Trend Painting Association ( 山水風畫
會 ) }  Brenda Hong
 Lingnan Chinese painting: Yang Shanchen ( 楊善琛 ) {* Spring Wind Painting Association
( 春風畫會 ) }  Lau Mang Foon ( 劉孟寬 ) {* Spring Wind Painting Association ( 春風畫會 ) }
 Brenda Hong
 Modern and Contemporary Ink Painting: Liu Guosong ( 劉國松 )  Chan Shing Kau ( 陳成
球 ) {* Hong Kong Modern Ink Painting Society ( 香港現代水墨畫會 ) }  Brenda Hong {*
Hong Kong Contemporary Innovative Ink Painting Association ( 香港當代創意水墨畫會 ) and
Hong Kong Modern Ink Painting Society ( 香港現代水墨畫會 ) }

 From these two newest
contemporary Chinese-
ink paintings created by
Brenda, it is seen that
Brenda is deeply
influenced by some
aesthetic elements of
“self-expressive
awesome ink leisures”
from Yang Shanchen
( 楊善琛 )’s Lingnan art
pursuits.

 Promotes a feministic mode
of moisturized ink leisure

 Brenda Hong’s expertise is to paint lotuses with a Rococo
vision.The lotuses are described with an adjective called
“drunk”, as the petals of the floral blossoms are seemingly dived
into a glass of wines to release the lipstick-liked pigments.

 Brenda Hong was invited by Lingnan
University to organize a solo exhibition for
her “drunk lotuses” contemporary Chinese-
ink paintings at its Student Library in August
2014.

 Before the Opening Reception of her solo
exhibition at Lingnan Univesity, the DBC invited
Brenda Hong as a guest-speaker to share her
Chinese-ink creative experiences among the
audiences.
 Maggie Cheung ( 瑪姬 ), one of the hosts in DBC’s
radio programme, is Brenda’s good friend

 Brenda’s contemporary
Chinese-ink painting was also
a highlighted exhibit during the
105th
Anniversary Visual Arts
Exhibition of Cheung Chau
Government Secondary School
at Hong Kong City Hall.

 Brenda’s efforts in exploring stylistic
innovations in contemporary Chinese-
ink painting pursuits are
acknowledged by Mr. Tang Hoi-chiu
( 鄧海超先生 ).

 Brenda’s work has ever appeared at
“The 4th
Taiwan Contemporary
Chinese-Ink Biennial Exhibition 2012”
( 第四屆臺灣當代水墨雙年展 ) inside
the Zhong Zheng Art Gallery, Taipei
Zhong Zheng Memorial Hall ( 臺北中正
紀念堂 )

 Despite of living in North Point,
Brenda occasionally takes time to
visit Cheung Chau Government
Secondary School, her Alma Mater.

Chui Pui Chee ( 徐沛之 )
 Chui Pui Chee is the apprentice of Jat Sze Yiu ( 翟仕堯 ). He graduated with a Doctor
of Fine Arts at China Academy of Fine Arts. He currently serves as a Calligraphy
Instructor at the CUHK School of Continuing and Professional Studies (CUSCS).
 His mother, called Fong Yeuk Lan ( 方若蘭 ), has ever served as a teacher at Cheung
Chau Sacred Heart Primary School ( 長洲聖心小學 ) before 1994. Afterwards, she
changed to teach at Cheung Chau Kwok Man Primary School ( 長洲國民小學 ) until
retirement.

 Chui Pui Chee obtained the “Hong Kong
Contemporary Art Awards 2012”.

 His monumental cursive-script ( 草書 ) piece was
displayed during the “Hong Kong Contemporary Arts
Awards 2012” exhibition at Hong Kong Museum of Art.

 The Hong Kong Museum of Art let Chui conduct a public seminar
for demonstrating the techniques of semi-cursive scripts ( 行書 ).

 This photo showed Chui Pui Chee enjoying a birthday
party with a girl classmate at the playground of Cheung
Chau Sacred Heart Kindergarten ( 長洲聖心幼稚園 ).

 Chui graduated from Queen’s College. During his study era,
Chui had the experience of organizing a calligraphy exhibition
booth for the Open Day of his Alma Mater.

 Queen’s College is renowned as fostering lots of political celebrities, such as Dr. Sun
Yat-sen, ( 孫中山 ), Mr. Ko Wing-man ( 高永文 ) and Prof. Joseph Jao-yiu Sung ( 沈祖
堯 ).
 Due to the prior emphasis on Science education at Queen’s College, Chui Pui Chee
had to apply for the HKCEE Art examination in a self-study module. He took the “Still
Life Drawing” and “Chinese Calligraphy” papers. Finally, he obtained a Grade A and
this paved the way for him to choose CUHK Department of Fine Arts as his first
preference after completing his Form 7 studies.

 Chui adopted the selected lyrics of Eason Chan ( 陳奕迅 )’s
pop songs, namely “Bicycle” ( 單車 ), “When The Grapes Get
Ripped” ( 葡萄成熟時 ) and “The Salon” ( 沙龍 ), for writing the
semi-cursive scripts onto the Chinese calligraphic fans.

 Beyond the Umbrella Revolution in 2014, Chui wrote a
spring couplet called “I want a genuine Universal
Suffrage”. The corresponding characters were
expressed in “Regular Scripts” ( 楷書 ).

 The Pacific Place invited Chui to paint some
leisurely lotus leafs and floral blossoms onto
the surface of a plastic elephant. Chui vividly
expressed the textural strokes ( 皴法 ) based
on a notion called “vividness of spiritual
essence” ( 氣韻生動 ) from Xie He’s “Six
Rules” ( 謝赫六法 ) of Eastern Jin Dynasty.

 Being his mentor of both Queen’s
College and CUHK, as well as his
employer, Prof. Joseph Jao-yiu Sung
( 沈祖堯 ) appreciates Chui Pui Chee’s
calligraphic endeavours during his
capacity as a CUHK President and
Vice-Chancellor.

 An integration of Chui’s
calligraphies with the
performance art of two
contemporary young artists

 Chui’s calligraphy appeared in a RTHK concert
programme.

 The RTHK produced a featured episode for introducing Chui’s
creative life in its “Artspiration” programme.

 Report by the magazine, with a special column for introducing
Chui’s calligraphic pursuits

 Apart from his calligraphy-teaching duties, Chui Pui Chee is keen at badminton.
There are regularly some badminton competitions for the teachers and students
from CUHK Department of Fine Arts to enhance their friendships. From these
two photos, Chui enjoyed this sports with Prof. Vincent Tong Kam-tang ( 唐錦
騰 ) and received the award medals from Prof. Joseph Jao-yiu Sung ( 沈祖堯 ).

 Now, Chui Pui Chee and Susan Cheng, his wife, is
living inside the staff dormitory of CUHK. Prof. Joseph
Jao-yiu Sung ( 沈祖堯 ) occasionally visits Chui and
plays with Chui’s baby son.

Patrick Cheung Hoi-yan
 Alumnus of Kiangsu & Chekiang Primary School (Chinese Section)
and Rosaryhill School
 Relocated his whole family in the United States during and after his
studies at Arizona State University (AZU)
 Currently works at Office of Knowledge Enterprise Development,
Arizona State University (AZU)

 Inheriting his father’s
Chinese-painting
talents, Patrick is keen
at watercolour painting
and illustration drawing.
 Photo: He had an
interaction with George
Lam ( 林子祥 ), a
renowned pop singer in
Hong Kong.

 Patrick obtained Grade A in HKCEE Art examination during his Form 5
studies at Rosaryhill School. However, due to the limitation of curriculum,
Patrick could not study A-Level Art during his Form 7 studies. He could only
study A-Level History and A-Level Economics. Then, he realized his dream
of pursuing art-and-design studies by applying for a vacancy from Arizona
State University (AZU), the United States.
 With the approval of Dominican Fathers, Rosaryhill School began to offer A-
Level Art education since 2001.

 Miss Belinda Lam ( 林寶英 ) was Patrick’s class teacher and A-Level History
teacher. Even though there wasn’t an A-Level Art lesson at Rosaryhill School in the
early 1990s, Miss Lam persisted as being Patrick’s trustworthy guardian for
appreciating his refined watercolour and ink-pen creations.
 Miss Lam tried her best to give Patrick other kinds of extra-curricular opportunities
for demonstrating his creative talents, such as the decoration affairs of History Club
and the design tasks of School Annual Editorial Board inside Rosaryhill School.

 During his Form 5 studies at Rosaryhill
School, Mr. Raymond Tsui was Patrick’s
Art teacher.
 Mr. Raymond Tsui was also born on
Cheung Chau. From this photo, Mr. Tsui
made a visit to Cheung Chau Sacred
Heart Primary School, his Alma Mater.

 Mr. Raymond Tsui relocated to Hong Kong Island after 10 years old.
He studied History at Hong Kong Baptist University and Design at
Hong Kong Polytechnic University before his teaching career at
Rosaryhill School. He is a devoted Catholic.

 Mr. Raymond Tsui (Right 1 from Back) enjoyed his educational works at
Rosaryhill School as similar as Mr. Shu Pak-chuen ( 史柏泉 ) (Left 3 from Front),
who is also a Cheung Chau resident and served there as a Chinese Language
teacher. The most rewarding experience of Mr. Raymond Tsui’s teaching career
at Rosaryhill School was that, he has fostered Patrick Cheung Hoi-yan as an
internationally-renowed artist.

 For example, Patrick made these
watercolour and illustration pieces as
the cover designs for his postcard
souvenirs. Some of the postcards are
collected by Miss. Belinda Lam.

 “Shimmering of Life” (1995)
 Patrick is keen at portraying
colourful butterflies that
interlaces with the bodies of
the “Psyche-liked” royal
ladies, which are all
expressed through a
mixture of watercolours,
colour pencils and markers.

 “Passion” (1995)
 Patrick attempted to
integrate the lofty lady
with the paws of an
octopus.

 “Clipping Wing” (1997)
 Patrick is keen at
portraying some
narrative episodes with
feministic temperaments.
The ladies are lofty, as
they dive themselves
within the rosebud or
waterfall-liked fantasy.

 “Anger” (1997)
 Patrick could integrate
the golden paints with the
Cubist compositions. The
entire vision of this
painting conveys a royal
sentiment despite of
talking about his anger
towards the political
uncertainty of Hong
Kong’s Handover in 1997.
This piece suits the favor
of hotel entrepreneurs for
collecting it as an interior
decoration.

 “Alert” (1999)
 The rabbit, who
attempted to explore
adventures within the
bushes inside a tropical
rainforest, began to
notice the cruel side of
other mammals which
did not care much about
the harmonious
coexistence among
different species in the
ecological habitat.

 “Shelter” (2001)
 There are often lots of
uncertainties inside the
marine habitat. A jellyfish
might also be eager to find
a coral place with fresh
nutrients for sheltering its
body and prevent itself
from being harmed by the
industrial pollutants.

 “An Emphemeral Union”
(Before the Storm) (2007)
 Unlike the stability in Hong
Kong, the United States is
occasionally threatened by
hurricanes or other natural
disasters. Patrick, for some
occasions, might think about
the issue of survival and
existence. From this painting
of expressing the electricity
cables on the roof of an
apartment, Patrick conveys
that humans should prevent
from making themselves too
stressful with the artificial
rewards and let the fresh air
enter their empty hearts.

 “Catching a Glimpse of
Hope” (2009)
 Patrick loves wild
animals. He shows a
sense of empathy
towards the in-born
loopholes from some of
the species, such as Owl.
The owl cannot detect
colours during the
daytime. It has to explore
its food-hunting strategies
by utilizing the projection
function of its eyeballs
during the mid-night
hours.

 Patrick’s works
have ever been
displayed at Rive
Gauche Art
Galleries. The
Galleries locate
at: 7173 East
Main Street,
Scottsdale,
Arizona 85251

 Some episodes of Patrick’s graduation at Arizona State
University (AZU), with the celebration from his parents
as well.

 In short, Patrick cherished his good old days at Rosaryhill School,
especially for the heartfelt care from Miss Belinda Lam and Mr. Raymond
Tsui (a Cheung Chau resident who taught HKCEE Art at Rosaryhill
School). Patrick regards his Alma Mater as a shelter for him to discover his
artistic ideal, which laid the latter success for him to emerge as an
internationally-renowned painting artist in the United States.

Vincent Lee ( 李冠良 )
 Vincent Lee Kwun-leung studied at Cheung Chau Sacred Heart
Kindergarten, Cheung Chau Sacred Heart Primary School, Cheung
Chau Government Secondary School and Rosaryhill School . He
obtained Grade A for both his HKCEE Art and HKALE Art
examinations in 2003 and 2005 respectively.

 Vincent’s Granduncle ( 大舅公 ) is Wan Ho Kan ( 溫浩根 ). It means that, Wan
Ho Kan is the uncle of Vincent’s mother and the elder brother of Vincent’s
grandmother. Wan Ho Kan died in July 2012.
 The Po On Commercial Association Wan Ho Kan Primary School ( 寶安商會溫
浩根小學 ) in Tung Chung was established to acknowledge and eternally
commemorate the charitable donations of Wan Ho Kan.

 The Wan Ho Kan Centre for Elderly Caring Services ( 溫浩根護理安老院 )
and the Wan Ho Kan Centre for Elderly Neighbours ( 溫浩根長者鄰舍中心 )
near Pak Tai Temple ( 北帝廟 ) are the significant institutions for sheltering
the healthy developments of elderly persons on Cheung Chau Island by
providing them with comfortable accommodations. The naming of these two
institutions are attributed to the charitable donations of Wan Ho Kan.

 Vincent’s Granduncle ( 大舅公 ), Wan Ho
Kan ( 溫浩根 ), has made the following
contributions and got the following
achievements due to his donations before
his death in July 2012:
 1 Jan 1988: Obtained the “Badge of
Honour” (B.H) from Queen Elizabeth II
 1990: Honourable naming for the
“Cheung Chau Wan Ho Kan Centre for
the Elderly” ( 長洲溫浩根老人中心 )
“Cheung Chau Wan Ho Kan Centre for
Elderly Caring Services” ( 長洲溫浩根
護理安老院 )
“Tung Chung Po On Commerical
Association Wan Ho Kan Primary
School” ( 東涌寶安商會溫浩根小學 )

 Miss. Fong Yeuk Lan ( 方若蘭 ), is Vincent’s
Primary 1 class teacher at Cheung Chau
Sacred Heart Primary School ( 長洲聖心小學 ).
 Miss. Fong is the mother of Chui Pui Chee ( 徐
沛之 ), a renowned Chinese calligrapher who
obtained "Hong Kong Contemporary Art Award
2012" at Hong Kong Museum of Art.
 During his Primary 1 studies, Miss. Fong
taught Vincent English Language, Social
Studies and Physical Education.
 During his Primary 2 studies, Miss. Fong
taught Vincent Physical Education only
because she was no longer Vincent’s class
teacher. Miss. Fong left Cheung Chau Sacred
Heart Primary School and changed to serve at
Cheung Chau Kwok Man Primary School ( 長
洲國民小學 ) in September 1994. Vincent took
this photo with Miss. Fong during the Closing
Day Ceremony of Sacred Heart School in July
1994 for leaving a good memory.

 During his Form 1 to Form 5 studies at Cheung Chau Government
Secondary School, Vincent served as a Prefect, Secretary of Art Club,
Chairman of Phonetics Club, Artist of English Club, Member of School
Choir and a participant in the “ALPHA Project” organized by Rotary
International. He took part in the 95th
Anniversary Mural Painting Project
inside the campus of his Alma Mater.

 Miss Winnie Choy Wing-yin ( 蔡詠妍 ) was Vincent’s Art teacher
during his Form 1, Form 2, Form 4 and Form 5 studies. Miss
Choy guided Vincent to practice “Still Life Drawing” and “Design”
skills for encountering with the challenge of HKCEE Art
examination.

 This piece, called
“Sunset Lovers”, was
the first try that Vincent
learnt how to use
acrylic for figure
painting during Miss.
Winnie Choy’s Art
lesson. The image of
this painting was later
published in the “95th
Anniversary
Publication” of CCGSS
as well.

 There were 17 students in
Miss. Winnie Choy Wing-
yin ( 蔡詠妍 )'s Art class
between 2001 and 2003.
Among them, Sin Ching
Yee ( 冼靜儀 , Front Left
1), Kwan Man Yee ( 關文
意 , Back Right 2) and
Vincent Lee (Back Right 5)
obtained Grade A during
the HKCEE Art
examination in 2003,
whereas Kwok Oi Yu ( 郭
靄愉 , Back Right 3)
obtained Grade B. Miss.
Choy appreciates the
creative dedication of her
Art students from the
graduation year 2003 very
much.

 Left photo: This photo was taken between Miss. Winnie Choy and Vincent during
the Open Day of CCGSS in 2002. Vincent took part in the exhibition booth of Art
Club by contributing his artworks.
 Right photo: Vincent was responsible for the 95th Anniversary Mural Painting
Project inside the CCGSS campus. Miss Winnie Choy selected Vincent’s painting
as prototype for one of the creative themes. Throughout the summer vacation in
2002, Vincent had to portray the narrative characters in accordance with the
contents of his original painting piece despite of hot weather.

 During his Form 6 and Form 7 studies at Rosaryhill School, Vincent
served as the Vice Chairman of Art Club, Member of School Choir,
Senior Sports Captain of Dragon House, Press Director of School
Annual Editorial Board and Bus Prefect.
 Fr. Francisco de las Heras and other Spanish Dominican Priests
appreciated Vincent’s dedication to painting creativity, academic
studies and extra-curricular developments at Rosaryhill School.

 The A-Level Art education at Rosaryhill School began in 2001.
 In July 2005, Vincent made a historic breakthrough by being the first-ever
Rosarian who obtained a Grade A in HKALE Art examination. Fr. Francisco
de las Heras and teachers at Rosaryhill School nominated Vincent to obtain
the “Student Artist of the Year 2004-2005” honour.
 The honour was presented by Hon. Michael Tien Puk-sun ( 田北辰 ), who
currently serves as the Legislative Councillor and Deputy Chairman of New
People’s Party, during the Prize-Giving Day of Rosaryhill School in
November 2005.

 In November 2003, Rosaryhill School invited Mrs. Anson Chan as the Guest-of-
Honour for her Prize-Giving Day. Vincent, as a Form 6 student, had a precious
opportunity to take photo with Mrs. Chan.
 Respecting her persistence on democracy, Vincent portrayed eight paintings with
Anson Chan’s smiling appearances as the exhibits during the “Academy of Visual
Arts Graduation Show 2009” of Hong Kong Baptist University.

 From this acrylic painting with two different “Ansons” at Tiananmen Square,
Vincent thought that, Mrs. Anson Chan had done a great job in upholding
the principle of “One Country, Two Systems” during her service as a
HKSAR Chief Secretary. There should not be any demonisation from
Beijing which questions Anson’s patriotic sentiments.

 From this acrylic
painting with an
“athletic Anson”
jumping through the
hurdle, Vincent
thought that Anson
Chan wanted Hong
Kong to keep
transcending her
neighbouring places
both economically
and democratically
even after the
Handover.

 From this acrylic
painting, Vincent
thought that Anson
Chan had
indoctrinated a series
of administrative
knowledge to Donald
Tsang for ensuring his
capability in handling
with the challenges in
Hong Kong.

 From this marker painting,
Vincent thought that Anson
Chan had tremendous
experiences in handling
with the needs of
underprivileged children, as
she served as the
Secretary of Social Welfare
Department before.
 Anson introduced “social
security network” to the
basic-class citizens, which
ensured that Hong Kong
can move ahead the path of
becoming an equalitarian
city.

 From this charcoal and
acrylic painting, Vincent
thought that Anson Chan
“serves for the virtue of
democracy” both before
and after her retirement.
 Anson allies with the
pan-democrats to strive
for a genuine Universal
Suffrage. Vincent thus
urged Beijing to trust
Anson’s conscientious
intention.

 From this acrylic painting,
Chan, same as the rest of
the Hong Kong people, is
proud of China’s
achievement in growing as
an influential economic
power.
 However, to make China
become more friendly in
the international
community, there’s an
emergent need for political
reforms within the
Communist Party.

 From this acrylic and
Chinese-ink painting,
Vincent thought that during
the colonial era, Anson
Chan brought the most
proper livelihoods to Hong
Kong citizens due to her
close collaborations with
Governor Chris Patten and
her efficient
administrations.

 From this acrylic painting,
brought hopeful spirits to Hong
Kong people. For example,
Anson expanded the
telecommunication industries,
introduced cruises services and
cargo piers for enriching the
logistic developments, and
implemented the Rental Control
Ordinances.

 From this contemporary Chinese-ink painting on watercolour paper, Vincent portrayed the
“Windsurfing Sculpture” at the park next to Cheung Chau Kwok Man Primary School ( 長洲
國民小學 ). The sculpture was established to glorify the international achievement of Lee
Lai Shan ( 李麗珊 ), who is Vincent’s mentor at Cheung Chau Government Secondary
School, for being the first-ever Hong Kong athlete in obtaining a Gold Medal at the “Atlanta
1996 Olympic Games” with regards to her championship in windsurfing.

 Vincent thought that, Cheung Chau Island is a gifted paradise for youngsters to practice
water sports such as windsurfing, swimming and lifesaving. There’re two beautiful
beaches, namely Tung Wan Beach and Kwun Yam Wan Beach. By using acrylic on
canvases as painting medium, Vincent portrayed some muscular boys with sunshine
appearances who enjoy water sports under the fine weather.

 Vincent obtained an international award from
this series of Chinese-ink figure paintings,
which were displayed during the Centenary
Visual Arts Exhibition of Cheung Chau
Government Secondary School at Hong
Kong Central Library on 4 June 2008.

 The “Ta Kung Pao” introduced Vincent’s Chinese-ink figure
paintings, together with a mention on his academic excellence in
HKCEE and HKALE Art.

 Vincent organized a solo exhibition of his acrylic and Chinese-ink
paintings at Hong Kong Cultural Centre in October 2008.

 The “Ta Kung Pao” described that, Principals from Cheung Chau Government
Secondary School and Rosaryhill School made an honorable presence at Vincent’s
solo exhibition. They consistently praised Vincent’s dedication to art and his two
Alma Maters.

 The “Apple Daily”
mentioned that Vincent
regarded Rosaryhill School
as an important shelter for
fostering his creative talents
due to the long-sighted
vision of Dominican Fathers
in prospering the art
education.

 Vincent has ever helped Roy
Tam ( 譚凱邦 ), Chairman of
Green Sense, create an
acrylic portraiture in July
2008.

 Vincent has ever helped Edmund
Lee ( 李健文 ) create a caricature
for his platform brochures to
compete for the position of
District Councilor in 2011.

 In 2012, Vincent created an acrylic
portraiture for Alfred Hui ( 許廷鏗 ),
a renowned pop singer. Vincent is
a registered member of Alfred Hui
Fans Club.

 In 2010, the Art of Nature
International Company
Limited ( 天趣國際藝術 )
selected Vincent’s two
abstract paintings as
exhibits at “Young Excellent
Artists – 2010”, which was
held at Penang State Art
Gallery.

 Miss Cissy Cheung ( 張
朱宇 ), President of the
Art of Nature
International Company
Limited ( 天趣國際藝
術 ), selected Vincent’s
abstract painting to
enter the “Charity Art
Auction Dinner” at
Trader’s Hotel in
Penang in July 2010.

 In January 2014, the Art Promotion Office from the HKSAR Leisure & Cultural
Services Department initiated a project called “IGNITE! Hong Kong Art Portfolio
Collection” ( 燃點！香港藝術創意徵集 ). Vincent was one of the nominated artists for
presenting his Chinese-ink figure painting at Oil Street ( 油街 ).

 During the presentation at Oil Street, Vincent said that that it was
needed to preserve the traditional “literati-based” aesthetic values
despite of exploring creative innovations with Chinese ink. These
values can be dopted from Zhou Jiyin’s publication called “The
Theories of Chinese Paintings” ( 周積寅編著之《中國畫論》 ) :
 (1) 機巧 (ji qiao): Planning skills from one’s mind
 (2) 意冥 (yi ming): A hidden integration between sentiments and
artistic conceptions
 (3) 玄化 (xuan hua): Transformation of the Nature and creatures
 (4) 靈府 (ling fu): Spirituality from our hearts
 (5) 衝漠 (chong mo): Tranqulity and a pursuit of voidness
 (6) 妙理 (miao li): Profound virtues
 (7) 凝神 (ying shen): Concentration of our spirits on art leisures
 (8) 遐想 (xia xiang): Fanciful daydreaming
 (9) 妙悟 (miao wu): Intelligence in sensing and comprehending the
virtues

Takahiko Yoshino ( 吉野孝彥 )
 Takahiko Yoshino is the only Japanese person who loyally chooses
Cheung Chau Island as the permanent residence for his family. He is
a drawing artist and a scientist specializing in the research on the
development of sustainable energy.

 Takahiko Yoshino has a son who was born in Hong Kong. Same as other Cheung Chau
youngsters, his son manages to speak fluent Cantonese and write Chinese. His son
studied at Cheung Chau Sacred Heart Primary School and Buddhist Wai Yan Memorial
College ( 佛教慧茵法師紀念中學 ).
 Takahiko Yoshino and his wife operate a “Hometown Teahouse” at Tung Wan Church
Road. Choi Lan ( 蔡欄 ), a renowned food critic, and Sir. Donald Tsang, Former HKSAR
Chief Executive, have ever tasted sushi and red-bean cakes at “Hometown Teahouse”.
The “New York Times” has ever written a featured report on “Hometown Teahouse”.

 Takahiko Yoshino created
this piece of promotional
banner in the early 1990s.
He portrayed the
renowned cartoon
characters, such as
Doraemon and
Sailormoon, for attracting
more kids and teenagers
to buy sushi and red-bean
cakes.
 These characters
symbolize the collective
memories of the 1980s-
born youngsters, as they
used to watch cartoon
programmes on TVB and
ATV channels once
finishing their school
lessons and assignments.

 Takahiko Yoshino assimilates
with the Chinese language
culture. Putting aside the
dependence on computer-
graphic technology, Yoshino
portrayed the menus with
Chinese calligraphic
typographies. The sushi
selections and the red-bean
cakes were also drawn with
pen, watercolour, marker and
colour-pencil tools. All these
reflect Yoshino’s prior emphasis
on minimal aesthetic beauties.

 Takahiko
Yoshino
publishes
postcards with
his life drawings
on the famous
sight-seeings
on Cheung
Chau Island.
The postcards
are named as
“Cheung Chau
Memories”.

 The drawing of this package cover shows the episode of Cheung
Chau Government Secondary School, whereas the colonial-styled
“Campus A” with reddish bricks is the highlighted feature.

 Takahiko Yoshino’s drawings are as refined and delicate as the relief
and intaglio printmakings in the 17th
and 18th
century Europe, in which
such handicraft technology was used to record the genre episodes of
colonies from the Oriental world.

 Takahiko Yoshino harmoniously integrates the gongbi style and the
three-dimensional visions of traditional Japanese “U-kiyoe” drawings
with his detailed pencil sketches. He stresses the logics of
proportions and compositions, whereas he conveys a sense of
tranquility.

The drawing, painting and calligraphy artists from Cheung Chau Island

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