T h e R e s u R g e n c e O f T h e P h O e n i x

The Resurgence Of The Phoenix

p r e s e n t s

A s O L O e X H I B I t I O n B YC H n G H U C K t H e n G

NYONYA REN

The Resurgence Of The Phoenix

A s O L O e X H I B I t I O n B YC H n G H U C K t H e n G

NYONYA REN

Published by : One East Museum & Art Sdn Bhd

Design & Concept by : MarketSource Sdn Bhd

Printed by : Laser Prepress Centre Sdn Bhd

Apart from any fair dealing for the purpose of private study, research, criticism

or review as permitted under the copyright, no part of this publication may be

reproduced by any process without written permission. Enquiries should be

addressed to the publisher. While all reasonable attempts at factual accuracy

have been made, the publisher accepts no responsibility for any errors contained

in this catalogue.

Copyright © 2021

One East Museum & Art Sdn Bhd

All Rights Reserved

Artist Statement

Message by WinSon Loh

庄学腾抽象艺术语境下的峇峇娘惹文化传承

梅德顺博士/东南大学博士后

Legacy of the Baba Nyonya Culture

in the Context of Chng Huck Theng’s Abstract Art

Dr. Mei Deshun/Postdoctorate at Southeast University

Artist’s Profile

Contents

Artist stAtement

n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x 3

Chng Huck Theng 庄 学 腾

When I started collecting Straits Chinese porcelain when I was young, it was the vibrant colours and the majestic phoenix in the porcelain that caught my attention. It was indeed beautiful and mesmerising. Since then, I have produced a few phoenix paintings and crafted phoenix images on tiles but nothing too serious.

This ‘Nyonya Ren - The Resurgence of the Phoenix’ is an important creation as it brings out the beauty and energy of the phoenix, resurfacing from the world of art, antique and culture. From the mid-19th century to before World War II, the Peranakan Chinese or the Nyonya Baba were a very influential and affluent society in Malaya, but the culture nearly vanished as this unique group was reclassified as ‘Chinese’ in general when the British government regained control after the war. It was not only until the 1970’s that scholars and researchers started to take a keen interest in the Peranakan Chinese hence, the culture was slowly revived.

Today the Peranakan Chinese artifacts are highly collected especially the Straits Chinese porcelain that were once favoured and some, specially commissioned by prominent families. The phoenix has always been an important symbol in the Peranakan Chinese families; not only is it an iconic mystical bird in Chinese history and culture but it personifies the feminine entity and was a symbolic representative to the Peranakan Chinese families as women were the head of families then.

‘Nyonya Ren - The Resurgence of the Phoenix’ is my way of bringing out the aesthetic and the importance of this heritage after spending almost two decades collecting, understanding and talking to the phoenix on the porcelain. These 13 paintings are works that have absorbed the spirit from the past, strengthened by the multi-faceted energy of the sun, the earth and my inspiration. All paintings are varnished to create a similar glaze perspective that one normally sees on famille rose porcelain. More importantly this series is to connect the historical importance with the hope to further promote and revive the Nyonya Baba culture.

Patience, acrylic on canvas, 2001

4 n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x

Little did I realise something I mentioned last year would trigger the highly artistic Chng Huck Theng to take action on what I said. The statement I made was during the pandemic period, collectors would go after artworks that convey positive energy and hope. And they would stay away from those that bring dark and negative vibes.

Birds of a feather flock together. This is the essence of his latest artworks. Due to his exposure to Peranakan

Chinese artifacts for years, it’s not difficult for one to notice he is thorough in choosing colours and what he wants to express through his artworks. They are like masterpieces created by a porcelain master!

The ‘Phoenix’ series is going to stand out and spread positive energy of the new generation. Who dares to say Huck Theng is not an artist of his own calibre?

真的没有想到在去年我的一句话，提醒了充满艺术细胞的莊学腾，我说过在这疫情之后或者之中 ，收藏家现在所要追求的应该是充满正能量和充满希望的。灰暗以及恐怖的更加避而遠之！

物以类聚人以群分！完全可以感受在他的创作之中！那因为由于他多年接触所谓的粮惹事物，可以看到他所表达的颜色之中又带有些细腻地方。竟然好像出自于陶瓷大師的创作！

“凤凰”油画系列将会脱颖而出满城也尽是充满新生代的正确能量！现在还有誰敢说他不是一个艺术家!?

盧咏申

messAGe

WinSon Loh PINKGUY diamonds are forever

盧 咏 申

n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x 5

一、峇峇娘惹文化研究与凤凰的情怀表现马来西亚独有的峇峇娘惹传统文化的起源发展，自航海家郑和远涉重洋的典故中，就给历史定位了其独特性，无论从服饰、头饰、餐具或各种日常器皿等的图案中就呈现出异质的视觉美感和意趣，小则可以是花草的审美寓意，大则可以是象征身份的各种凤凰图腾的纹样。以中国文化百鸟之王——“凤凰”为例。据文献记载，雄的叫“凤”，雌的叫“凰”，总称为凤凰，亦称为丹鸟、火鸟、鶤鸡、威凤等各种称号，而在马来西亚独有的峇峇娘惹传统文化的传承中，一般上都象征着祥瑞的寓意。在峇峇娘惹传统家庭里都会备有许多大小不一的盖盅来装盛珍贵的食材和草药，为此凤凰的图案也随之出现在娘惹瓷，特别是婚礼习俗的容器上，继承着独有的传统文化，“凤凰”图案是历经几代峇峇娘惹家族里的日用器皿重要的象征与代表，特别是从南洋地区传承和传播着中国文化的重要元素。

在华人传统家庭中成长的庄学腾，无疑地被中华传统文化有着深刻的影响，对传统思想的深入认知，自从十四岁起对粉彩瓷器与雕塑有着浓郁的兴趣，加上庄学腾的祖母是位娘惹，为此对“娘惹瓷器”深切地体悟其文化精神的意义，尤其是培养出对“娘惹瓷器”1的钟爱情怀，从大学毕业后，就常往中国佛山景德镇、德化等多地走访考究早期十九世纪槟城峇峇与娘惹社群兴旺时期的中国特制和外销陶瓷的根源与传播研究，撰写出版了《藏》和《遗留》相关著作。此后，在槟榔屿古物收藏家协会主席的业余时间还专门花了数年的时间，前后与他人共撰与拍摄出版了《海峡珍宝》陶瓷书籍。

与此同时，从庄学腾他在海外西学归来的各种优质条件环境下，提升了他对中西艺术文化融汇贯通思维的敏锐思维，当他看到很多关于峇峇与娘惹的日用器皿图腾图案在工艺方面蓬勃发展时，却缺少了平面视觉的艺术作品，为此让他在本身的艺术创作中时常地将这传统艺术的元素与现代艺术相结合，甚至情有独钟的将娘惹文化再现于画布上，甚至透过使用了“娘惹瓷”的传统色彩的调子，例如红色（洋红、官粉）和绿色（碧绿、水绿）等，以及在画面上将“凤凰”形态以层层釉上为之峇峇娘惹文化的典型象征，力图在传统与现代之间找到共通点并确立自己的艺术个性的风格。从欣赏他透过寻觅“凤凰”切入峇峇娘惹当代文化语境艺术的情怀表现来看，他不仅承载着传统文化，而且也背负着艺术创新的使命，仿佛在每一幅现代艺术作品里细说以往小时候自身生活的各种情感故事，激起人们在内心深处的涟漪，将峇峇娘惹文化真情表露，特别是凸显“凤凰”图腾的娘惹文化于现代艺术领域革新洪流里。

庄 学 腾 抽 象 艺 术 语 境 下 的峇 峇 娘 惹 文 化 传 承[ 马 来 西 亚 ] 梅 德 顺 博 士 / 东 南 大 学 博 士 后

1 娘惹瓷器（Peranakan Chinese Porcelain or Nyonya ware），是19世紀中至20世紀初晚清民国时期，在南洋一带的娘惹向中国景德镇或江西省的私人瓷窑订制的粉彩瓷器。

二、抽象与观念的艺术品质近现代的现实社会发展的洪流里，当新艺术思想和新观念的出现，往往会改变了人们的审美情趣，抑或颠覆了其他艺术家重新为自己作品找寻另一种风格定位。以抽象艺术为例，这已有相当的历史绘画风格主义在美术历史的洪流下仍见其曲折与起落，或发展与停滞的情况，然而，像抽象与观念的艺术在大马美术史的代表人物不多，其中的原因之一可能它不算是马来西亚艺术文化历史的原产物，但经庄学腾这位艺术家多年来不懈地勇于追求各种观念的艺术创作，通过各种思考的过程和临界状况（criticality）来对自己严格的训练，身体力行去探索艺术多方面的“可能性”和“观念”等的问题后，以各种创新的结合来为其大马当代艺术的处境赋予一个新的生命，尤其是庄学腾大胆实践和注重发掘传统的题材，从现代绘画的结构和程式规范来进行解构“抽象主义”，运用当代人的艺术眼光重新审视传统，以新的语言元素来“激活”凤凰系列作品应有的灵动之气，从享有自由的状态中描绘着属于自己的心灵艺术图景。

对于庄学腾的抽象艺术创作，都获得了学界的高度评价，来自理科大学的 Hasnul J. Saidon（Journey towards abstraction, 2007）学者曾对此以“最大胆、最具有直觉色彩”来作为评价，同时认为庄学腾放弃传统的油画技巧而采用泼、滴、染、涂等的创作方法，在过程中以尽情挥洒为创作的泉源，是种充满生气和活力的表现，尤其是在抽象作品的画面上，散发出高度纹理化的冷静感且带有祥和的形象，为视觉起着平衡与调和的作用，提升对作品观感的愉悦性，这是可以称之为优质艺术作品的“品质”条件之一。

6 n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x

n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x 7

三、游走在科学与艺术创作的空间创作对艺术家而言，是遵循的反映现实或艺术表现的基本原则和方法。一般上，在艺术创作过程中，艺术家根据他们对现实生活的观点和认识，凭借他所接受的艺术传统和个人的艺术修养，采取一定的创作方法，进行各种艺术形象的塑造或创作。由于艺术家采取不同的创作方法，在他们反映现实社会、塑造符号、形象等方面，都有不同的特点。

回顾庄学腾在数十年的艺术创作生涯里，惯用了“泼色”来追求另类正规性的视觉效果，在一定条件下促进和加强了生活与艺术实践的关系，特别是从而提高对现实生活的理解能力和艺术表现创造力。在他对“峇峇娘惹”传统文化形象的创作思维中，依循着科学性的原理，甚至不以画笔待之，像抽象主义的代表人物美国画家杰克森·波洛克（Jackson Pollock），带有强烈的情感冲动，行使“行动绘画”的行为，把液体颜料、丙烯等滴泼或洒于画布上，从而彰显出艺术创作的不同思路脉络的创造力。

当研究庄学腾的创作技法，不难会发现他具备较全面的艺术素养，甚至爱挑战高难度，常以科学原理（光能、热能、张力、重心、旋律等）的方法等来进行艺术创作，尤其是透过各种亲身实验的科学方法将其绘画的记忆定格，创造了艺术家本身的另类审美观念。著名哲学家、符号论美学代表人物苏珊·朗格（Susanne K. Langer）曾说“审美虽是纯感性的，却积淀着理性的历史。” 庄学腾艺术创作的“理性科学”与“文化历史”正是涵概了其艺术作品的相联系因素，特别是他在画面结构上的抽象运动方向与形态结构的主轴方向基本上是一致性的，其“凤凰”形态的结构张力从某一个中心向四面八方发射出来的视觉效果，仿佛象征着传统的娘惹文化缔造出新的生命力或动力，让大众欣赏出另一个艺术与科学无限遐想的创意空间。

从艺术家的角度上来看，庄学腾对这科学与艺术领域进行探索、研究和发现，促使许多创意系列的艺术作品产生，尤其是最为人知的“凤凰系列”，在画面上引导着大众欣赏抽象艺术的内涵外，将当中的“科学”、“文化”、“历史”与“美术”相互擦出火花的故事，同时融汇了“抽象” 的域度和探求现代艺术的深度，展示出作品的情感多义、审美值域的各种不可界定性艺术精彩。

Legacy of the Baba Nyonya Culture in the Context of Chng Huck Theng’s Abstract ArtDr. Mei Deshun / Postdoctorate at Southeast University

1. The study of Baba Nyonya culture and the expressions of the Phoenix The origin and development of Malaysia’s distinctive Baba Nyonya culture has positioned its uniqueness in history since the allusions of the Chinese navigator Admiral Zheng He’s travels across the oceans - from the likes of customs, architecture, clothing, headwear, cuisine, tableware (previously known as ‘Nyonya ware’ and now, appropriately termed as Straits Chinese porcelain), including various daily utensils, and more. Richly illustrated with beautiful motifs and hues, the Nyonya tableware is one of the most colourful porcelain wares made in China. The motifs painted onto the smaller tableware may feature flowers and plants, and the larger ones take the forms of various animal totems that represent status such as the phoenix. The phoenix reigns supreme over all other birds and is prominently featured in the Baba Nyonya culture in Malaysia as it symbolises status and has auspicious connotations.

Chng Huck Theng, (Chng) grew up in a traditional Chinese family. His in-depth knowledge of customs and traditions, coupled with his Baba Nyonya family lineage (Chng’s paternal grandmother is a Nyonya) gave him a deep sense of cultural and spiritual understanding of his heritage and cultivated his love for ‘Nyonya porcelain’. Due to his fondness for porcelain and figurines, Chng, in the 1990’s made trips to Jingdezhen, Dehua, Foshan and other Chinese cities to explore the various famille rose Chinese porcelain ware that were popular during the prime of the Straits Chinese in Malaysia, ie; late 19th to the early 20th centuries. These imported porcelain was also used by the affluent Baba Nyonya (Peranakan) community around the same time. Upon his return, he wrote, photographed and published two books on ceramics, and in 2019, co-authored another, entitled “Straits Heritage Collection”.

Chng, who is currently the Chairman of the Penang Antique Collectors Association, also noted that paintings rarely adorned the Peranakan homes and quickly realised that whilst patterns are flourishing in craftsmanship in terms of the totems on the artifacts, there is a lack of graphic art works. The phoenix has always been an important symbol in Peranakan families; apart from being an iconic mystical bird in Chinese history and culture, it personifies the feminine entity and was symbolic to the Peranakan Chinese families as women were the voice of their families then.

8 n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x

Translated English version

n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x 9

In his 13-piece series of ‘Nyonya Ren - Resurgence of the Phoenix’, Chng says that it is his way of conveying the aesthetics and the importance of this heritage after spending almost two decades collecting, understanding and ‘talking’ to the phoenix on the porcelain. Reproduced onto canvas, Chng brings out the phoenix onto his paintings through the use of the traditional colour tones of ‘Nyonya porcelain’, such as coral red, black, yellow, red, brown, indigo dark blue, sky blue, indigo blue and green. These 13 paintings are works that have absorbed the spirit from the past, strengthened by the multi-faceted energy of the sun, the earth and his inspiration. All paintings are varnished to create a similar glaze perspective that one normally sees on famille rose porcelain.

In trying to find common ground between tradition and modernity, Chng established his own artistic style. From the appreciation of his feelings and expressions of cutting into the contemporary Baba Nyonya cultural context and art through searching for the “phoenix”, he not only carries traditional culture, but also bears the mission of artistic innovation, as if in every piece of modern artwork, it describes the various emotional stories of one’s own life in the past and has aroused the inner ripples and reveals the true approach of the Baba Nyonya world, one that highlights the “Phoenix” in the modern art field.

2. The artistic quality of abstraction and conceptWhen new artistic ideas come into play in these times of rapid social development, the public will have different and perspectives of these new concepts; as such, the artists too, will also need to discover ways to redefine themselves in positioning their works.

Not many artists are in the field of conceptualisation as abstract art is not part of the Malaysian culture and arts history. However, the artist - Chng Huck Theng has been relentlessly pursuing his artistic creations with various concepts for many years; while he explores different approaches and styles, Chng still goes back to the fundamentals of painting. Through critical thinking and after many attempts and research, vigorous training and personal exploration of the several “possibilities” and “concepts” of art, his combination of various innovations brings a new life to contemporary art in Malaysia.

In particular, Chng boldly practiced and paid attention to the study of fundamental themes, and through his understanding, he deconstructed “abstraction” and also invited the artistic world to appreciate from his perspective. From the structure and programme norms of modern painting, Chng re-examined the tradition with contemporary art eyes, bringing alive his latest ‘Phoenix’ series with new age elements.

Chng’s abstract art creations have been greatly praised within the academic circles. Highly respected scholar, Hasnul J. Saidon (Journey Towards Abstraction, 2007) from the University of Science, Malaysia (USM) once regarded Chng’s work as “audacious and most intuitive”. Chng gave up traditional oil painting techniques and adopted creative methods such as splashing, dripping, dyeing, pouring and through this process, brings about a good balance of energy, vitality, calm and serenity - considered one of the important attributes in creating good quality works of art.

1 0 n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x

3. Wandering in the space of scientific and artistic creationBetween art and science..From an artist’s perspective, he uses his knowledge, experience and creativity as the basic principles and methods to reflect reality or the artistic world. There are different ways to creating artwork and from their artwork, echo the message they wish to portray in different and unique presentations, which ultimately reflect their own characteristics.

Looking back on Chng Huck Theng’s decades of artistic career, he used “splashing colours” to pursue alternative and formal visual effects. His work is different… special… but still in a way, allows the public to comprehend what his message is all about.

The visual effects emitted in all directions seem to symbolise the traditional Baba Nyonya culture to create new vitality or power, allowing the public to appreciate another creative space of unlimited reverie of art and science. He follows scientific principles without using brushes; like the representative figure of abstraction, American painter Jackson Pollock, with very high emotional impulse and energy, exercises the behaviour of “action painting”- splashing or sprinkling liquid paint, acrylic, etc. on the canvas, thus demonstrating the creativity of different lines of thought in artistic creation.

When studying Chng Huck Theng’s creative techniques and process, it is noted that he loves to challenge high levels of difficulty and often uses scientific principles (he adoped light, energy, heat, tension, center of gravity, movement, etc.) to produce his creative pieces. In particular, he freezes the memory of his paintings through various scientific methods of personal experimentation, achieving an alternative aesthetic concept of himself. Susanne K. Langer, a well-known philosopher and representative of semiotic aesthetics, once said, “Although aesthetics is purely perceptual, it collectively combines historical elements.”

From an artist’s point of view, Chng’s exploration, research and discovery in this field of science and art have prompted many creative series of art works, especially the most well-known “Phoenix Series”, which guides the public to appreciate abstract art on canvas. It integrates the domain of “abstraction” and the depth of exploring modern art, showing the emotion of the work and its aesthetic values.

In this instance, Chng’s artistic creations are a unique combination of curated science, art and culture.

the resurgence of the Phoenix...

begins...

nY

On

YA

Re

n ~

Th

e R

es

uR

ge

nc

e O

f T

he

Ph

Oe

nix

11

12

nY

On

YA

Re

n ~

Th

e R

es

uR

ge

nc

e O

f T

he

Ph

Oe

nix

WORKS BY CHNG HUCK THENG PRESENTED AS NATIONAL GIFTS

ecole nationale supérieure des Beaux-Arts (ensBA)

university Musuem and Art gallery hong Kong (uMAg) 2009

hand in hand, Together We Make a Better World - Malaysia national gift from Malaysia to china 2011 on display at Qinzhou industrial Park, Located in Qingzhou city, guangxi

n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x 1 3

‘salam’ presented to the city of Melbourne and national gallery of Victoria during the ‘Discovery Malaysia Art’ exhibition in Mebourne 2013

Presentation of chng’s One stroke chinese calligraphy Drawing to fan Di’an, President of central Academy Of fine Arts, china

Datuk Dr Wong, ceO of MATRADe presenting ‘salam - London’, a national gift by the Malaysian government to the city of London, received by Victoria Borwick, Deputy Mayor of London during the Malaysia night 2013 celebration at Trafalgar square 2013.

shanghai Art Museum

1 4 n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x

Education1995 • Master of Commerce, Wollongong

University, NSW, Australia1994 • Bachelor of Commerce, Wollongong

University, NSW, Australia

Public collEction • Central Academy of Fine Arts, Beijing, China • Shanghai Art Museum, Shanghai, China • Ecole Nationale Supérieure des Beaux-Arts

(ENSBA), Paris, France • Singapore Art Museum (SAM), Singapore • National Art Gallery, Kuala Lumpur, Malaysia • National Gallery Victoria, Australia • City Hall, Melbourne, Australia • City Hall, London, United Kingdom • University Museum and Art, Hong Kong • Ayutthaya University, Thailand • ABN Amro Bank (now RBS), Singapore • Universiti Sains Malaysia, Penang, Malaysia • Thai Airways International • European Commission, Malaysia • Embassy of Malaysia, France • Embassy of Malaysia, Belgium • Embassy of Malaysia, Thailand • Malaysia Consulate, Dubai, UAE • Malaysia Consulate, Melbourne, Australia • Malaysia Consulate, New York, USA • Chung Ling High School

intErnational art EvEnts2021 • London Art Biennale “2020 Art

Competition”, King House Gallery, London, United Kingdom

2014 • Venice Biennale “Conversation, 14th Architecture Exhibition, La Biennale di Venezia” 2014, Venice, Italy

• Art Stage Singapore “Beyond Contemporary”, Art Stage Singapore, Singapore

2011 • ArtExpo New York “What is An Apple”, New York, USA

2010 • World Expo Shanghai “Better City, Better Life”, World Expo Shanghai-Malaysia Pavilion, Shanghai, China

C H n g H u C k t H e n g

1 9 9 4 - P R E S E N T

c h n g @ c h t n e t w o r k . c o m

Recognition/national gifts2018 • “Relationship”, presented by the

Speaker of House as Penang State Gift to the Central Academy of Fine Arts Beijing, China

2013 • “Salam Melbourne” and “Salam Victoria”, Sculptures selected as National Gift by the Government of Malaysia for presentation to the City of Melbourne and National Gallery of Victoria, Australia

• “Salam London”, Sculpture selected as National Gift by the Government of Malaysia for presentation to the City of London during the Malaysia Night 2013 celebration at Trafalgar Square, London, United Kingdom

2011 • “Hand in Hand, Together We Make A Better World”, Sculpture selected by Malaysia Prime Minister for presentation as National Gift to China

2010 • “Have a Thought”, Painting presented by Consul-General of Malaysia as National Gift to Shanghai Art Museum

2009 • “Determination”, Painting presented by Ambassador of Malaysia to France together with Higher Education Minister of Malaysia as National Gift to Ecole Nationale Supérieure des Beaux-Arts (ENSBA), Paris, France

WoRks commissioned2014 • Contemporary art trophy for PIE

Awards - Pinnacle International Excellence Awards

2013

• “Rise of the Taurus”, Lamborghini Kuala Lumpur Collection

• “Age of the Greats”, Lamborghini Owner’s Collection

2012 • Contemporary art trophy for INPenang Awards

• Contemporary art trophy for 1Malaysia International Tourism Night Floral Parade

2011 • Contemporary art trophy for 1Malaysia International Tourism Night Floral Parade

aWaRds2015 • McMillan Woods Global Awards 2015,

“Personality - Curator Par Excellence of the Year”, Kuala Lumpur, Malaysia

2010 • London International Creative Competition (LICC), Shortlist Winner, London, United Kingdom

2010 • Asia Art Award, Seoul, South Korea2005 • Nokia and Le Prestige “Malaysian Top

40 under 40”, Malaysia

chaRity2020 • 1) Persatuan Kebajikan Kanak-Kanak

Shan, 2) Pertubuhan Komuniti Chest Pulau Pinang, 3) Penang Fo Yi Haemodialysis Society & 4) Jawatankuasa Rumah Sejahtera Permatang Tinggi - RM20,000

• School Breakfast Programme by PGAPP - RM46,000

2019 • School Breakfast Programme by PGAPP - RM80,000

• Dementia Australia and Amnesia Australia - AUD5,000

2015 • McMillan Woods Global & Mom Cares - RM30,000

• One To Tree Foundation - RM11,0002014 • WWF Foundation - RM8,5002012 • D’Homes Charity - RM3,500

auction • Henry Butcher, Malaysia and South East Asia

Art Auction, 2018 April • 33 Auction Singapore, 2015 November • 33 Auction Singapore, 2015 January • 33 Auction Singapore, 2014 May • 33 Auction Singapore, 2014 January • 33 Auction Singapore, 2013 September • Masterpiece Auction, Kuala Lumpur, Malaysia,

2013 June • 33 Auction Singapore, 2013 May • Masterpiece Auction, Kuala Lumpur, Malaysia,

2013 March • 33 Auction Singapore, 2012 November • 33 Auction Singapore, 2012 May

1 6 n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x

• Malaysian and Indonesian Modern and Contemporary Art Auction, Malaysia, 2012 September

• 33 Auction Singapore, 2012 April • Borobudor Auction Singapore, 2008 May

solo exhibition2021 • “Nyonya Ren”, PINKGUY Gallery, Kuala

Lumpur, Malaysia 2019 • “Before Harapan”, PINKGUY Gallery,

Kuala Lumpur, Malaysia 2018 • “I M Perfect Creation”, One East

Museum, Penang, Malaysia • “I M Perfect Creation”, MoCa@Loewen,

Singapore • “Energy in Abstract”, SpACE@Collins,

Melbourne, Australia2017 • “Pahlawan”, PinkGuy Art Gallery, Kuala

Lumpur, Malaysia 2016 • “Relationship”, PinkGuy Art Gallery,

Kuala Lumpur, Malaysia • “I M Perfect Creation”, SpACE@Collins,

Melbourne, Australia2014 • “Foul”, PinkGuy Art Gallery, Kuala

Lumpur, Malaysia 2013 • “What is An Apple?”, PinkGuy Art

Gallery, Kuala Lumpur, Malaysia • “The Art of CHT” Luxury China Fair,

Beijing, China2010 • “Brain Imaging : What You See and

What You Want to See”, Pace Gallery, Malaysia

• “The Solo Exhibition by Malaysia’s Chng Huck Theng”, Seoul Metro Art Center, South Korea

2008 • “The Journey”, Linda Gallery, Jakarta, Indonesia

2007 • “The Journey”, (Educational), Universiti Sains Malaysia, Penang, Malaysia

• “The Journey”, Galeri Seni Mutiara, Penang, Malaysia

• “The Journey”, Artseni Gallery, Kuala Lumpur, Malaysia

2004 • “L’Art et la Maiere”, Alliance Fracaise de Penang, Malaysia

2002 • “An Evening with Cartier and ABN AMRO Private Banking”, Cheong Fatt Tze Mansion, Penang, Malaysia

gRoup exhibitions2020 • “Beyond 2000”, Penang Art Society,

Penang State Art Gallery, Penang, Malaysia

2019 • “Traditional to Modern Calligraphy”, Penang Art Society, Penang State Art Gallery, Penang, Malaysia

2018 • “Malaysia National Day Art Exhibition Bangkok 2018”, Bangkok, Thailand

• “Penang Art Society Turns 65”, Penang, Malaysia

2016 • “Blossom Art Festival”, Malaysia Chinese Cultural Art Consultative Council, Wisma MCA, Kuala Lumpur, Malaysia

• “Past and Present”, Penang State Art Gallery, Penang, Malaysia

2015 • “10th Anniversary Exhibition 2005-2015”, Galeri Seni Mutiara, Penang, Malaysia

• “Penang Art Society@Melbourne”, SpACE@Collins, Melbourne, Australia

2014 • “Art Expo Malaysia 2014”, MATRADE Exhibition and Convention Centre, Kuala Lumpur, Malaysia

• “WWF-Malaysia’s Art For Nature”, Island Gallery, Penang, Malaysia

2013 • “Arts Kuala Lumpur - London : Malaysia Eye”, Nolias Gallery, London, United Kingdom

• “Inheritance and Innovation towards Harmony and Unity Art Exhibition”, The Kuala Lumpur and Selangor Chinese Assembly Hall, Kuala Lumpur, Malaysia

• “Penang Art Society 60th Anniversary Exhibition”, Penang State Art Gallery, Penang, Malaysia

• “The Art of CHT” Luxury China Fair, Beijing, China

2011 • “5th New Expression of Asian Art”, Art Gallery National Museum, Bangkok, Thailand

• “Mentality, Soka Gakkai Malaysia, and Penang Art Society’s Jubilee Show”, Penang State Art Gallery, Penang, Malaysia

• “Collectors’ Collection”, Penang Art Society, Penang, Malaysia

2010 • “Affordable Art Fair Singapore”, Singapore

• “ASIA NOW”, Melbourne International Fine Art, Melbourne, Australia

• “ORIENT2010”, ASEAN-Japan Centre, Tokyo, Japan

• “Merdeka 53”, Galeri Seni Mutiara, Penang, Malaysia

• “Asia International Art Exhibition”, Seoul Museum of Art, Seoul, Korea

2009 • “Malaysia International Art Exhibition”, Dubai, UAE

• “The 3rd Nam Song International Art Fair”, Seongnam Arts Center Museum, Seoul, South Korea

• “The 71st Mokwoohoe Members Exhibition”, Seoul, South Korea

2009 • “Art, Life and Vision – 100 International Artists Exhibition”, Conservatory of Fine Arts, Malaysia

• “Penang Art Society@57”, Penang State Art Gallery, Penang, Malaysia

2008 • “The 70th Mokwoohoe Members Exhibition and Combined with The Malaysian Figurative Artist”, Seoul, South Korea

• “Creation”, Penang State Art Gallery, Penang, Malaysia

• “Urban ArtBeat”, Starhill Gallery’s Arts Festival at Starhill Gallery, Kuala Lumpur, Malaysia

• “2nd International Art Expo Malaysia”, MEEC, Kuala Lumpur, Malaysia

2007 • “Artist’s Favourite”, Penang State Art Gallery, Penang, Malaysia

• “Merdeka 50”, Galeri Seni Mutiara, Penang, Malaysia

• “L.I.F.E Experience”, Ascott Kuala Lumpur, Malaysia

2006 • “Vision 2006”, ABN ANBRO-USM Gallery, Penang, Malaysia

2005 • “LINK : Penang-Beijing”, ABN AMRO-USM Gallery, Penang, Malaysia

• “LINK : Penang-Beijing”, Capital Normal University, Beijing, China

2004 • “Penang Art Society 50th Anniversary Exhibition”, Penang State Art Gallery, Penang, Malaysia

• “Northern Vantage – 11 Malaysian Artists”, ABN AMRO-USM Gallery, Penang, Malaysia

• “Northern Vantage – 11 Malaysian Artists”, NN Gallery, Kuala Lumpur, Malaysia

• “Commemorative Art Exhibition in Aid of Cancer”, Siraj Hospital, Bangkok, Thailand

2003 • “Friends of CFA”, Art Point Gallery, Penang, Malaysia

2002 • “International Chung Ling Artists Invitation Show”, Penang State Art Gallery, Penang, Malaysia

• “Penang Art Society Annual Exhibition”, Penang State Art Gallery, Penang, Malaysia

2001 • “Penang Art Society Annual Exhibition”, Penang State Art Gallery, Penang, Malaysia

2001 • “Past and Present in Penang”, Lekuan Art Gallery, Penang, Malaysia

• “A Farewell to Sia Boey Market”, Penang State Art Galley / NYFC, Penang, Malaysia

n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x 1 7

cuRatoRial WoRks2015 • Arts Kuala Lumpur - Melbourne, by

MATRADE (Malaysia External Trade Development Corporation), SpACE@Collins, Melbourne Australia

2014 • Arts Kuala Lumpur - Melbourne, by MATRADE, SpACE@Collins, Melbourne Australia

2013

• Arts Kuala Lumpur - Melbourne, by MATRADE, MiFA Events, Melbourne Australia

• “Delvin Cheah - I Can Draw”, One East Museum & Art Sdn. Bhd., Penang, Malaysia

public seminaRs2021 “Collecting Chinese Antique in Malaysia”,

MNP Art Centre in Kuala Lumpur2019 “What’s the Recipes to Run A Business”,

Malaysia Retail Chain Association (MRCA), Penang“Time Machine of Culture ”, Graphic Design Association of Malaysia, Kuala Lumpur

2017 “PARALLEL WORKING / SESSIONS - WCES Young Entrepreneurs Roundtable”, World Chinese Economic Summit (WCES) 2017 in Kuala Lumpur

2016 “The Development of Entrepreneurship and Successful Stories”, Han Chiang College and Penang Chinese Chamber

2015 “Malaysia Art Going Global”, MATRADE and National Visual Art Gallery“Art as Social Innovator”, National Art Symposium 2015

2013 Keynote Speaker to 2nd SME Business Conference 2013 in Malaysia

2007 “Art, Communication and Publicity”, Universiti Sains Malaysia

2004 “An Introduction to Famille Rose Chinese Figurines”, Penang Antique Collectors Association

2003 “Late 19th / Early 20th century Famille Rose Chinese Porcelain”, Southern Asia Ceramic Society

2002 “Chinese Porcelain and Art”, American Women’s Association, Kuala Lumpur

oRganisations2016- Penang Antique Collectors

Association (PACA) - President2010- One East Museum - Founding President2009- Penang Art Society - President2013- Association of Tourism Attractions

Penang (ATAP) - Chairman2008-2011 National Art Gallery - Board Member2008-2010 SENIKINI / Malaysia Art Now - Managing

Editor2003-2011 Dreamz Foundation - Co-Founder /

Chairman2006-2008 State Museum Board, Penang - Board

Member2006-2008 Penang State Art Gallery - Committee

Member2001-2008 Penang Art Society - Member2004-2006 ArtGrup Penang - Founding Member

aRt and antique books WRitten and published2021 “Nyonya Ren”, One East Museum, 20212019 “Straits Heritage Collections”, Penang

Antique Collectors Association, 20192019 “Before Harapan”, One East Museum,

20192016 “I M Perfect Creation”, Royal East Pty.

Ltd., 20162015 “Top 50 Malaysian Artists In Auctions

2015”, One East Museum, 20152014 “Top 50 Malaysian Artists In Auctions

2014”, One East Museum, 20142013 “In Love with Art, The Penang Chinese

Performing Arts”, One East Museum, 2013“Delwin Cheah - I Can Draw”, One East Museum, 2013

2012 “Penang Elite-Faces of Tourism”, MarketSource Sdn. Bhd., 2012

2010 “Brain Imaging : What You See and What You Want to See”, Pace Gallery, Malaysia., 2010

2009 “Bewilder”, MarketSource Sdn. Bhd., 2009

2007 “The Journey”, ABN AMRO Bank, Prof Hasnul J Saidon and Zanita Anuar, 2007

2002 “The Migrated Figurines”, One-East Marketing Sdn. Bhd., 2002

2001 “The Surviving Pieces”, One-East Marketing Sdn. Bhd., 2001

aRt and antique aRticles WRitten2020 “King of Straits Chinese Porcelain”, EZ

Vol 60, 20202019 “Famille Rose Chinese Porcelains in

Penang”, EZ Vol 55, 20192018 “The Big Business of Forging in Art and

Antique”, EZ Vol 53, 2018“Bowls with ‘Foot’ ”, EZ Vol 50, 2018

2016 "Malaysia Art 2016", EZ Vol 42, 20162015 "Hammering of the Rare - Straits

Chinese Porcelains", EZ Vol 38, 20152013 “Malaysian Auction - Understanding

The Market”, EZ 30, 20132009 “The Missing Jigsaw”, EZ Vol 15, 20092004 “Nyonya Ware”, Treazures, Vol I, 20042003 “Figuring Out Our Figurines”, Penang

: Beyond Aspiration. Penang : Intact Communication, 2003

2001 “Idol Fancies”, Malaysia Tatler, July 2001

1 8 n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x

liteRatuRes / RevieWs

2021 • “Conversations with the Phoenix”, EZ Malaysia Vol 61, p84-87

2020 • “The Year is 2020” King House Art Magazine, Issue 01, p70 • “Changing Lives Through Art”, Buletin Mutiara, Penang State Government

2019 • “庄学腾兼当企业家、艺术家、慈善家，能文能武勤贡献” (Chng Huck Theng, Contributing To The Society Through Business and Art), Guang Ming Daily, April 29

2016 • “Business, Not as Usual”, The Star - Life Inspired, July 10 • “Give Tax Incentives to Help Art Industry”, The Star - The Nation, June 13

2015 • “槟艺协墨尔本展览绽异彩” (Penang Art Society@Melbourne), Oriental Press, July 6 • “跨越文商界, 庄学腾创造社会价值” (The Value of Arts and Culture Beyond Business), Oriental Press, March 14

2014 • “Expressions of Merdeka Day on Canvas”, New Straits Times, August 27 • “10 Things About : Ch’ng Huck Theng”, Art Entrepreneur On A Mission, April 20 • “庄学腾的笑艺术” (The Art of CHT), Sin Chew Press, March 16 • “放眼成艺术都会” (Art Beyond Borders), Sin Chew Press, February 17

2013 • “The Art of CHT”, EZ Vol. 30, p34-39 • “庄学腾《苹果系列》画展14作品半小时卖光” (Apple series sold out within 30 minutes), August 1

2012 • “Dragon Hunter”, The Star Metro, January 23 • “收藏家钟情龙瓷” (Collector Obsessed with Dragon Porcelain), Guang Ming Daily, Jan 22 • “33 Auction Raises SGD 2 million”, Malaysia Art Gallery Guide, issue 11 p39 • “One East Museum”, Art Malaysia, issue 19 p88-92 • “Anak Malaysia Goes International”, EZ Malaysia Vol. 27 p73-75

2011 • “庄学腾 : 情迷瓷雕公仔”(Ch’ng : Obsessed with Porcelain carving doll), - Kwong Wah Jit Poh, December 9 • “见证槟华人生活品位” (Recognising the lifestyle of Penang Chinese), Oriental Press, Sept 25 • “真的！徐悲鸿真迹” (Masterpiece of Xu Beihong in Penang), - Kwong Wah Jit Poh, August 4 • “世界艺术家：名作典藏” (The World Artist), American World Artist Association, p352-355 • “Collectors’ Collection”, Penang Art Society • “心路 II” (Mind II - Malaysian Artists), Soka Gakkai Malaysia

2010 • “Shanghai Art Museum collects Ch’ng’s painting”, Art Guide vol. 31, p123 • “Brain Imaging : What You See and What You Want to See”, Cover Page Story, Art Malaysia, issue 06 Jan/Feb

2009 • “Mystical Adventure”, Dynasty (China Airlines inflight magazine), March • “拼出不同火花抽象魅力无边” (Abstract Creativity), Oriental Press, July 4

2008 • “Creation”, Penang Art Society • “The 70th Mokwoohoe Members Exhibition and Combined with The Malaysian Figurative Artist 2008”, Mokwoohoe Fine Artist Association • “Portrait of A Businessman as an Artist”, Malaysian Business, March 1-15 • “Perjalanan Huck Theng Lewat Lukisan Abstrak”, Media Indonesia.com, July 8

2007 • “Artist’s Favourite – Directory of Penang Artists”, Penang State Art Gallery • “A Story in the Making”, Pinang II : Born Penang Proud to be Malaysian • “The Heart Of An Artist”, Cover Page Story, Essenze, Q3-2007

2006 • “Vision 2006”, ArtGrup Penang

2005 • “LINK : Penang-Beijing”, ArtGrup Penang

2004 • “Northern Vantage – 11 Malaysian Artists”, ArtGrup Penang • “Shaking Up the Scene …”, Treazures, Vol I • “The Accidental Artist”, Le Prestige, January issue • “Stirred with Simplicity”, New Sunday Times, February 8

n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x 1 9

2003 • “Looking through Colored Lenses”, Pinang : Beyond Aspiration • “31 歲莊學騰擠入老行家行列” (Joining the Professionals at 31), Guang Ming Daily, June 28 • “Call of the Mind”, Malaysia Tatler, July issue • “Ch’ng Huck Theng – Art Collector”, V Mag, September issue

2002 • “International Chung Ling Artists Invitation Show”, BOD Chung Ling High School

2001 • “Ch’ng Huck Theng ”, Malaysia Tatler Cover Story, April issue (Cover Story) • “Past and Present Artists of Penang”, Penang Tourist Newspaper, June issue • “Fondness for Figurines”, The Star, June 1 • “古玩背后故事更动人” (Fascinating Stories behind the Collectibles), China Press, June 10 • “古玩物不是老人家才玩的”(Collecting not only for the old), Guang Ming Daily, June 10 • “Porcelain futures”, The Edge, August 13

1997 • “情困陶瓷艺术品” (Falling in love with porcelains), Guang Ming Daily, January 5 • “心平气和辨真假” (Authentication via a peaceful mind), Guang Ming Daily, January 6

This will be my 19th solo art exhibition since I first started to paint during my university

years in Australia. It has not been an easy path but I have enjoyed every second

of it. I deeply appreciate the help I received on this amazing journey, especially

from those who believe in my creativity and unselfishly pointed me in the right

direction in pursuing my dream as a creator. No single artist can succeed in the

world of art without genuine friendship and self-perseverance.

For this exhibition ‘Nyonya Ren - The Resurgence Of The Phoenix’, I would like to

record my special thanks to: Winson Loh of PINKGUY Gallery for according me a

time slot in his ‘forever full’ exhibition space; Calvin Goon, Managing Director -

Wealth Management & Customer Proposition of Affin Bank for sponsoring this art

book; and Photographer Layzhou Yeap for capturing the art images so skillfully.

My appreciation also goes to my fellow art collectors and friends who have always

stood by and supported me since we first met. Additionally, I would also like to

thank the collectors in the Straits Chinese antique and culture circle - it is because

of your sharing of these unique porcelain that were once very popular among the

Nyonya Baba community that intrigued me greatly; so great that I felt responsible

to further preserve this important heritage.

Last but not least, a big thank to all of you who have given me the inspiration

and courage to summon the iconic Phoenix from antique porcelain onto

contemporary art.

ACknowledGements

2 0 n Y O n Y A R e n ~ T h e R e s u R g e n c e O f T h e P h O e n i x