OU Da Wei區大為

Ink is colour, but colour is not vanity.  The reference here is to the five colours underlying the art of Chinese ink painting.  In his classic writing “Lidai Minghua Ji” (Famous Paintings through History), Zhang Yanyuan, an acclaimed art critic of the Tang Dynasty (618-907 AD), deliberated that “manipulating ink to produce the tones similar to five colours show that the painter has attained the superb state of the essence of ink.  The essence lies in the tonal gradations of five colours ”.  In a technical sense, this mean the manipulation of ink with the paintbrush to produce the five effects of “dry, wet, dense, pale, and dark” that convey the imagery of the painting, akin to the grey scale of black-and-white photography.  The changes in the gradient of ink produce a layering of colours, which engender the fascination of ink in the world of black & white as well as both lightness and substance.  Ink has long stood at the core of Chinese literati painting, elegantly, evoking a realm of depth and meaning.  The ability to integrate calligraphy, painting, seal carving and poetry was a prerequisite for all literati painters of ancient times.  Lacking the authentic life and learning environment of pass generations, modern painters need a perseverance comparable to religious endeavour to successfully pursue these four art forms and develop their own personal style. 



墨即是色,色卻非空,而是蘊藏於墨韻中的五彩。  唐代(618-907)畫論家張彥遠在其名著<歷代名畫記>中指岀:「運墨而五色具,謂之得意,意在五色。」。從技巧層面而言,即是透過運筆用墨,用「乾、濕、濃、淡、墨」的效果表達岀畫中的意像,即有點像黑白照片中的灰階,墨的濃淡變化即是色的層次感,在黑白虛實中顯現水墨的意趣。而水墨亦即傳統中國文人畫的重心,一種深沉蘊藉的境界,透露「雅」的韻致。  詩、書、畫、印兼擅是古代文人畫家必備的條件,作為活在當下的書畫家,沒有古人的生活及學習環境,仍然格守四藝不渝,同時追求個人藝術風格,箇中的堅持與執著,已近乎一種信仰的追求。

OU Da Wei 區大為

B o r n  i n  Guangzhou  i n  1 9 4 7 


Ou Da-wei (b.1947) is a renowned artist in Hong Kong. He was presented the Urban Council Fine Arts Awards in Chinese Calligraphy in 1989 and in Seal Carving in 1998 at the Contemporary Hong Kong Art Biennial Exhibition. Ou excels in Chinese calligraphy, landscape painting and the art of seal carving. He once served as a tutor at the Department of Extra Mural Studies of the Baptist College, the Hong Kong First Institute of Art and Design, the Department of Fine Arts of the Chinese University of Hong Kong, and the School of Professional and Continuing Education of the University of Hong Kong. His art won him two awards, the Hong Kong Urban Council Fine Arts Award and the Hong Kong Art Development Council Award for Artistic Development. His publications include the 'Selected Seals by Ou Da Wei' series and 'Flowing from the Inkwell - Selected Brushwork by Ou Da Wei'. His works are in the collections of the Hong Kong Museum of Art and the Hong Kong Heritage Musem. 

He is known for his sophisticated intense black and white style of Chinese calligraphy and Chinese landscape painting and for his excellent Chinese seal carving. He writes poems with spirit and charm to accompany his artwork which express in simple words carrying deep meanings, his innermost feelings. His paintings, calligraphy and seals have been described as possessing a unique solemn and harmonious quality, vividly soaring like a bird in flight. With fantastic designs and layouts, he applies his sophisticated seal carving techniques firmly and precisely to produce unique results. Ou often writes poems to accompany his paintings and calligraphy works, expressing his innermost feelings in simple words that carry a deep meaning and can light up people's hearts.


區大為是香港殿堂級藝術家,曾分別於1989及1998年的「當代香港藝術雙年展」獲頒書法及篆刻兩個項目的市政局藝術獎。作品為香港藝術館、香港文化博物館、西安中國書法藝術博物館、中國篆刻藝術館、日本篆刻美術館收藏。1947 年生於廣州,61年隨吳子復先生學習書法、篆刻,其後學習山水畫。現為香港康文署博物館專家顧問、審批員;香港中文大學藝術系兼任講師;香港大學專業進修學院客席講師;香港城市大學中國文化中心客席藝術家。書法、篆刻、山水畫。



墨即是色,色卻非空,而是蘊藏於墨韻中的五彩。  唐代(618-907)畫論家張彥遠在其名著<歷代名畫記>中指岀:「運墨而五色具,謂之得意,意在五色。」。從技巧層面而言,即是透過運筆用墨,用「乾、濕、濃、淡、墨」的效果表達岀畫中的意像,即有點像黑白照片中的灰階,墨的濃淡變化即是色的層次感,在黑白虛實中顯現水墨的意趣。而水墨亦即傳統中國文人畫的重心,一種深沉蘊藉的境界,透露「雅」的韻致。  詩、書、畫、印兼擅是古代文人畫家必備的條件,作為活在當下的書畫家,沒有古人的生活及學習環境,仍然格守四藝不渝,同時追求個人藝術風格,箇中的堅持與執著,已近乎一種信仰的追求。




  • 1989年:市政局藝術獎 (書法項目)

  • 1998年:市政局藝術獎(篆刻項目)

  • 1998年:視覺藝術發展獎助(香港藝術發展局)

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