Ho Man Tin Station (Blessings – Bridge) (1)
Ho Man Tin Station (Blessings – Bridge) (2)
Ho Man Tin Station (Blessings – Bridge) (3)
Ho Man Tin Station (Blessings – Bridge) (4)
previous arrow
next arrow

Feel nostalgic, tranquil, blessed, happy, joyful, and accepted

In this continuation of our serial, we examine admire the art along the Kwun Tong Line. Even without art training, you may find it can mentally and emotionally transport you to a better place. This includes helping you feel nostalgic, tranquil, blessed, happy, joyful, and accepted.

Traditional Chinese paintings are a union of poem, calligraphy, painting, and red seal. Chung Wai-ming’s sculpture is abstraction art in the form of an awning protecting pedestrians. Approaching the station, viewers see half of a poem, the term ‘fortune’ “福” written in Chinese calligraphy. Departing passengers see the second half of the poem, a painted bamboo tree “竹”. When bamboo and fortune are said together in Cantonese it means blessing, hence the title Blessings · Bridge. Chung’s red seal is apparent from both directions.

Blessings · Bridge departs from tradition in several ways. The image is not mounted horizontally, it is not on paper and silk, and the structure serves a useful purpose beyond being aesthetically pleasing. But the most dramatic difference is the point of view. Traditional Chinese paintings have a moving point perspective, which helps to enlarge the visual field and break through the limit of time and space. This sculpture requires the viewer to stand in a specific spot to see it. The stretching-out and distortion of the image creates a three-dimensional illusion with the intent to convey a more personalized message than could have been done using realism. The distortion draws additional attention to the artwork. This is even more apparent in the abstraction photograph of Blessings · Bridge located on the concourse level of the station. 

Text Martin Wray / Photos Dave Chung