Abstract
During the past 30 years, visual art in Hong Kong has distinguished itself from other art forms, undergone a metamorphosis in both concepts and styles. During the 1960s, Hong Kong painters have developed meaningful and systematic theories of painting and aesthetics which reflect a concern for cultural identity.
This chapter was originally published in BOREC (REVIJA ZA ZGODOVINO, ANTROPOLOGIJO IN KNJIZEVNOST) (The Fighter, The Journal for History, Anthropology and Literature), Ljubljana, Slovenia: the Society for History, Anthropology and Literature & the Ministry of Culture of Slovenia. LV, 2003, st. 608–611, (December, 2003), pp. 219–237.
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Man, E.K.W. (2015). The Trinity of “Hong Kong -China- the World”: The Battle of Cultural Identities as a Form of Hegemony in Art in Postcolonial Hong Kong (Since 1990s). In: Issues of Contemporary Art and Aesthetics in Chinese Context. Chinese Contemporary Art Series. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-662-46510-3_11
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