Wednesday, February 10, 2016

LEE Kian Seng sharings 李健省


李健省  LEE Kian Seng  亚洲当代艺术 Asia Contemporary Art

















Form is empty
Emptiness is form
Emptiness is not other than form
Form is also not other than emptiness

(excerpt from the Heart Suttra)




more stories at 欢迎游览http://www.leekianseng.com/




·“历史的探索不在于它选择了什么,而在于它忽略了什么”美国社会史学家 Daniel J.Boorstin
“The quest of history does not lie in what it has chosen, but in what it has overlooked.”--- American social historian Daniel J. Boorstin  


不准确的理解和翻译就会歪曲原义,以讹传讹,害人不浅。,希望朱光潜的金玉良言(摘自美学拾穗集)能唤醒马来西亚华社一部份画家与美术/文史研究者的良知,这小撮人(4人帮)企图垄断学术平台,社区公器、篡改史实,营造假舆论蒙蔽华社

 

*我想作的其实就是一件事,让历史照亮未来

行程
( What I want to do is actually one thing, let history illuminate the future journey.)


     ·     《迟来的正义  Delayed Justice

披荆斩棘20年,李健省于2021830日成功协助马来西亚国家艺术馆修订4件(CTP)修订版。在1994年至2008年之间出版的四本历史书籍中,修正了一些重大错误,还原历史真相。

http://www.leekianseng.com/lee_LetterUndertaking.pdf

 

·        《笔记巴生》https://leekianseng.com/lee_Klang_2.pdf

 

·     《为何起诉》http://www.leekianseng.com/lee_Klang_1.pdf

 

·       New Creativity for Malaysian Artist LEE Kian Seng  大马艺术家李健省新创意》》
 
http://www.leekianseng.com/lee_YZZK.pdf

 

·     部分记录+简介》 part-record-1+brief-bio

http://www.leekianseng.com/lee_Bio_1966_FirstOneManShow.pdf

 

 

·     《马来西亚美术史》里的偏差 + 马来西亚华人人物志 》的勘误表 

http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf

   这是一部华人世界的重要历史著作之一,它也曾被用来主催/主办相关的国际学术论坛与交流会。一个负责任的主编/出版单位有道德上的义务向学术界的合作者/图书馆/研究所等等学术机构提供最新的修订。(根据主编/出版单位的记录名单)】

 ------------------------------------------------------

厚此薄彼、借刀除忧的话语策略----乡愿以文化冲突为筹码,笼络两三位媒体人垄断言论、编造 ‘传说’ 误导公众。坊间一些所谓的 “史实记录”  “美术史”  “传略” ,也似是而非,自矜功伐地臆造了。

 ------------------------------------

前事不忘后事之师  

 In the High Court of Malaya at Kuala Lumpur. Civil Suit No.S4 (S1)-22-504-2000   Full trial on 16th July 2008   http://www.leekianseng.com/lee_BioVsKlccTrial20080716.pdf                                      

在马来西亚艺术领域里,鲜为人知的扑朔迷离会开始浮现。必要让年轻的有线索看清在那一个种族思维,贪腐共犯的时代里,企业与 黑手,里应外合对艺术家的态度




http://techiesdvn.blogspot.com/2012/01/?m=1


😀Values are more important than valuable
价值观比价值更重要


·马来西亚个人资料保护法令

Changing Approaches:Installations Produced in the Malaysian Art World by Sarena Abdullah 31 October 2017 
  


当代艺术( Contemporary Art)是普世价值的精神取向。普世价值观( Universal Value)由 3 个基本要件组成:公平,正义,自由、是人类文明的重要成果,出于人类的良知与理性之价值观,不分领域,超越宗教,国家,民族,也不等同于西方价值观。Contemporary art is based on Universal Value that consists of three basic elements: fairness, justice, freedom, is an important achievement of human civilization, out of human conscience and rational values, regardless of the field, beyond religion, country, nation, also not equal to Western values.


https://www.youtube.com/watch?v=Jm1anurhbeg&ab_channel=YJHP

品格是一个人的基本素质,它决定了一个人回应人生处境的模式,具有核心意义的个性心理特征,包含有许多社会道德含义。莎士比亚也曾说过:“非常的境遇方才显出非常的气节”。

El Condor Pasa 雄鹰在飞,自由战士的灵魂之诉

原文網址: https://kknews.cc/zh-my/culture/p496xqz.html


Guantanamera - The Sandpipers 

古巴最著名的歌曲关达纳美拉(Guantanamera

http://www.xiaohongshu.com/discovery/item/6178070100000000210349d5


  刘崇汉 (Liew Kam Ba) 公开道歉





( 马来西亚 Shah Alam高等法庭民事诉讼案编号:BA-22IP-04-11 / 2017于2018年12月12日的同意判决第一项阐明,:The First and Second Defendants in their official capacity as the Chief Editor and the Chairman of the Editorial Board respectively, shall publish an “Erratum” with the contents of the Plaintiff’s article to be proofread by the Plaintiff in the following manner, with the contents of the other artists( except the removal of the plaintiff’s name in the article stated at page 234)remaining as they are :-) (第234页不适合包括李健省的名字)

依据上述判决以及主编刘崇汉(Liew Kam Ba)先生于马来西亚星洲日报2019年1月5日的《公开道歉》的内容,2012年3月31日出版的《滨华中小学88周年纪念特刊1923-2011》的“校友画家”特辑(第234页~242页)作废。


该编委会于2019年出版的勘误版(修订本)李健省简介(第139~140页)如下:-

注:可向巴生滨华 中学接待处(李光前大楼子瑚堂)领取2019年出版的校友画家勘误版(修订本)。Pin Hwa  High School, 13,Jalan Goh Hock Huat, Kawasan 18,41400 Klang, Selangor Darul  Ehsan,Malaysia. 03-33426388 

希望‘所有学校的教师’都能阅读到《滨华中小学88周年纪念特刊1923-2011》于201941日出版的‘校友画家’章节的“修订本”。这件修订版是依据马来西亚Shah Alam高等法庭民事诉讼案编号:BA-22IP-04-11 / 201720181212日的同意判决。


《滨华中小学88周年纪念特刊1923-2011》是一本华人社会里重要历史性著作之一。基于对历史、学术和公众利益的尊重,有关单位有道义上的义务,向2012 年 8 月 27日晚宴上购买特刊的嘉宾(包括巴生政商界、学术机构,社团领袖代表等),赠送2019年4月1日出版的最新“修订版”(CTP hardcopy) 。(“滨华心,校友情” 晚宴 is referred )

-------------------------------------------------------------------------------------------


*自2019年10月起,马来西亚国家教育部将李健省(Lee Kian Seng)的成就编入国民型中学四年级美术教科书《PENGKHUSUSAN Sekolah Seni Malaysia Tingkatan 4》161:《Tokoh dan Pengkarya-Lee Kian Seng》







法情:李健省



          




 ·……人类费最大力气、冒最大危险去追求的是什么?是爱情、自由、抑或财富?通通不是,是真相。警方要查出真相,记者要报道真相。科学家要发现有关宇宙和世界如何运作的客观、观察得到,甚至可以证明的真相(provable truth),艺术家要呈现的,则是人类生存处境与生命本质的实相。‘被扭曲的新闻与真相’/林沛理  

* 调查报告

 

图: 1966年配合校庆回馈母校在滨华中学大礼堂开个人画展,创造了开埠以来第一个于巴生市举行的个人画展。何友智校长和刘怀谷校长大力支持,该展吸引了许多公众包括多位南洋美专校友和外国人士的到访。


历史真相     姚拓先生的拔萃画廊(Galaxy Gallery)活动之一

当年在李健省(Lee Kian Seng) 的 穿针引线下,马来西亚国家美术馆义务秘书(马来西亚首相的新闻秘书)苏里文先生 (Mr. Frank Sullivan) 1966126日为拔萃画廊的首个联展活动(7 青年画展)主持开幕。(见1966127日马来西亚南洋商报与中国报的报道。)

  1. 1966126Frank Sullivan先生曾亲临业主姚拓先生 (1922~2009) 拔萃画廊的一个联展活动,为李健省与画友们的“7 青年画展主持开幕。1968年,Frank Sullivan 受李健省邀请出任第二届《雪州皇城画展》的顾问之一,期间也把滨华中学的校名带进国家美术馆,从此协助提升巴生的艺术风气与士气。1970代初,李健省推荐滨华中学多位校友们的作品给Frank Sullivan,并为他们在Samat Art Gallery(1966年成立)举办个展。

  2. 19668月,Frank Sullivan 先生(马来西亚国家美术馆义务秘书)为李健省在巴生和吉隆坡共用的的个人画展纪念册写序言。(注:1966年为配合校庆回馈母校,李健省毅然将筹备中的吉隆坡个展作品(@1966101722/马来西亚艺术理事会Arts Council Malaysia主办)提前移至滨华中学大礼堂展出(@196682731 日),创造了开埠以来第一个于巴生市举行的个人画展;接着1968雪兰莪苏丹殿下在巴生Klang Club主持李健省在巴生的第二次个人画展开幕礼。)

  3. 以下4个标志性的个展与联谊群展合力激活了巴生艺术生态:                                 I.            1966-08-2731开埠以来第一个于巴生市举行的《李健省个展》(巴生滨华中学大礼堂),领头激活了巴生的艺术活动。在开幕日现场与来宾庄金秀即兴掀起一项跨族群联谊群展的构思,即“雪州王城画展”。      

                                II.            1967-03-0408:临时召集《第一届雪州王城画展》跨族群联谊群展(@ Dewan Melayu Klang马来人大会堂),由一个临时画展筹委会运作,李健省是召集和负责人之一。

                              III.            1968-05-1416:由一个临时画展筹委会运作《第二届雪州皇城画展》跨族群联谊群展( 巴生福建会馆)。李健省主编纪念特刊。Frank Sullivan先生被邀请出任该活动的顾问之一,Frank Sullivan对巴生艺坛的贡献重大,姚拓先生也功不可没。李健省自1969年4月游学国外多年。
(特注:日后,民间也有沿用了几十年,但来歷不明的 “ XX 艺术家协会",被利慾熏心的会长转型"到自己的屋簷下作公关"工具,千方百计为个人商业利益站台护航!假借发扬艺术活动,利用艺术家协会"名头站台,製造阵容来混淆视线掩护私图,为个人私营的艺术中心/画室"招生佔地盘。合法不合法,在华社里没人追究的",很多年前有一位会长"这样告诉我,令人难过。有些社团像私人產业,何时註册也没人知道,在腐败卑鄙政治文化熏陶下,这种不透明的人治传统发展到今天的世袭会长"。详见   骑劫艺术   )

                              IV.            1968-10-10 :雪州苏丹殿下于巴生俱乐部(Royal Klang Club)开幕《李健省画展》 奠定了向外“打开巴生艺术之门”的基础。
(缘起:巴生皇家俱乐部Kelab Di Raja Klang/Royal Klang Club)历史超过百年,60年代艺术气息浓厚文化素质高,曾是马来西亚戏剧活动重镇之一对马来西亚的戏剧发展有一定的贡献。1967年时任会长 R.J. Colins 先生热心艺术,业余兴趣导演戏剧,在海峡时报的新闻(Young artist to hold one-man exhibition 1966-10-18 The Straits Times Malaysia)发现李健省。那时李健省画室在偏僻的郊区(Lot 831,c-9,Bukit Raja,Klang)没电话,R.J. Colins 先生马不停蹄四处探听,最终给他找到。R.J.Colins先生热心邀李健省参与该俱乐部之戏剧活动负责舞台设计 (The Lesson by Eugene Ionesco translated from the French by Donald Watson @ Klang Club Directed by Reginald Collins 1968 )  ,李健省乐意免费帮他。R.J.Colins
生与雪州苏丹殿下是好友,之后,在他的诚意安排下,促成了1968年的《李健省画展》。)

备忘:

 

在李健省(Lee Kian Seng)的穿针引线下,国家艺术馆义务秘书Mr. Frank Sullivan(苏里文先生,国家艺术馆第一任馆长,马来西亚首相的新闻官) 1966126日亲临姚拓先生(业主)的 “拔萃画廊” Galaxy Gallery)为李健省与画友们的《 7青年画展》主持开幕。李健省见证:庄金秀曾短暂任兼职画廊的实习经理,后由李小姐全职接任。(详见下图1966127日马来西亚南洋商报与中国报的报道。)

7青年画展” 包括华联中学的陈添富,韩江中学的吴少山、芙蓉中华中学李启华、许燦辉、林俊茂、陈赞发和 李健省等人。

 

直言不讳-50年后的今日,坊间有“乡愿”圆滑人,巧妙臆造故事,歪曲/篡改1960年代的历史真相。Someone cleverly fabricated stories to distort the historical truth.








马来西亚星洲日报 1991-04-26

李健省(右)赠(版)画给星洲日报“花踪”文学奖,由本报社长张晓卿上议员代领。





o 艺术以德而立,以质而传。
o 不容易判断公正性,有偏差就解释不了公正,比如在职场人脉荫庇下的报道。必需严格审查一些有关当代艺术报道的廉正性。
o 媒体有责引领社会及读者迈向更高层次。

o 君子诚之为贵...至诚如神(中庸)




·【当代艺术是以人类共同守望的普世价值作为精神指向的,因此, 普世主义就成为了当代艺术的代名词。在内涵上也主要指具有现代精神和具备现代语言的艺术。普世价值(英语:universal value)泛指那些不分领域,超越宗教、国家、民族,出于人类的良知与理性之价值观念。普世价值是人类文明共有成果,不应该把普世价值等同于西方价值观,进行自我封闭 


 为了私利和排挤当代纯艺术工作者,马来西亚华社艺文界的4人帮’常把普世价值解释为西方价值观去误导华社。】


·...当代艺术创作的出发点强调开阔思想性、批判性与当下性,尤其是那些跨越多元文化差异、有意识地探索世界和生命的奥秘最为高贵...




 ·“.....商业化会在最短的时间吃掉所有的文化。”--曾仕强教授。


(南洋商报图片:1972-11-17于马来西亚国家艺术馆。李健省向马来西亚首相Y.A.B Tun Haji Abdul Razak Bin Hussein解释作品红色的视窗From the Windows of Red)。左起:Tan Sri Zain Azrai、首相、钟正山、外国嘉宾、李健省。)
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(上图 右)锺正山       李健省   @  2019-09-27

2019827日何启良教授与锺瑜相约在我家见面谈艺术, 赠何启良和钟瑜《李健省20190812笔记》(95页)各一本 

交流间,锺瑜告诉我他父亲锺正山在轮椅上坐了一小段时间,家人都希望他能早日康复。 

一时心沉,我15年前大病曾体验与死神大战,能理解锺正山的心情。 

20190927去探望他,希望他早日康复。


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上图:2019827《 马来西亚华人人物志 》主编何启良教授和钟瑜在李健省的工作室谈艺术

 



马来西亚华人人物志 --拉曼大学中华研究中心于202112月出版勘误表(ERRATA


20198月李健省开始向锺瑜寻求勘误。详见李健省20190812笔记。

 

2020819 ,李健省的代表郑大前律师楼(MESSRS. TEE TAI TZIAN & SIM)开始向锺瑜寻求勘误。

 

20223:李健省成功协助瑜修订 马来西亚华人人物志 第二卷第626629页由锺瑜撰写的李健省 (Lee Kian Seng) 传略--《离经叛道的画坛异数》里的十多项错误,包括人格和公众形象的误导性描述,以及对《形象、物体、 假象》 (“Of ‘Image, Object, Illusion’- Off Series Mechanism) 1977 作品的构成和艺术语境的歪曲。


2022
3 月锺瑜通过MESSRS. HALIM HONG & QUEK律师楼 提供由拉曼大学中华研究中心(Centre for Chinese Studies Universiti Tunku Abdul Rahman)出版的《离经叛道的画坛异数》传略的纸本(CTP)勘误表

 

20223月马来西亚拉曼大学中华研究中心在其官网发布锺瑜修订的勘误表(ERRATAhttps://cchs.research.utar.edu.my/%E5%8B%98%E8%AF%AF%E8%A1%A8%EF%BC%88Errata%EF%BC%89.php

·       《华人人物志》罕见巨著https://www.sinchew.com.my/20150107/4%E5%A4%A7%E5%86%8C%E5%85%B11%E5%8D%83838%E9%A1%B5100%E4%B8%87%E5%AD%97%EF%BC%8E%E3%80%8A%E5%8D%8E%E4%BA%BA%E4%BA%BA%E7%89%A9%E5%BF%97%E3%80%8B%E7%BD%95%E8%A7%81%E5%B7%A8%E8%91%97/

 

参照:

  1. MESSRS. TEE TAI TZIAN & SIM (郑大前律师楼): TS.L.20.LKS-HKL&CY.396(T)
  2. MESSRS. HALIM HONG & QUEK (翰林方与郭律师事务所): HHQ20LTGENCY&HKL(MCHP)
  3. 《李健省20190812笔记》
    1. http://lee-kian-seng.blogspot.com/
    2. 《燧火评论》-杨善勇http://www.pfirereview.com/20150414/
    3. 新加坡亚洲研究学会https://sgsocietyofasianstudies.wordpress.com/2015/04/28/%E6%96%87%E5%8C%96%E6%B2%99%E9%BE%99-22015-%E7%99%BE%E5%B9%B4%E9%A9%AC%E5%8D%8E%E3%80%81%E4%BA%BA%E6%96%87%E8%8D%9F%E8%90%83-%E4%BB%8B%E7%BB%8D%E3%80%8A%E9%A9%AC%E6%9D%A5%E8%A5%BF%E4%BA%9A/
马来西亚华人人物志 (共四卷,马来西亚拉曼大学中华研究中心201411月出版。
Malaysian Chinese Historical Personalitiespublished by the Centre for Chinese Studies, Universiti Tunku Abdul Rahman, Malaysia in November 2014)。









以下复印自《马来西亚华人人物誌》第二卷第626629页收录的李健省 (Lee Kian Seng)传略--《离经叛道的画坛异数》作者:钟瑜/马来西亚拉曼大学中华研究中心2014年出版,何启良教授主编). 李健省注:下划线表示错误
 








以上是一本华人社会里重要历史性著作之一。基于对历史、学术和公共利益的尊重,相关单位有道义上的义务主动向其写作团队/国际论坛参与者,以及国内外图书馆和学术机构提供于2021年12月出版的纸本‘勘误表’(CTP hardcopy)

有朋友向我抱怨:【错误多多没素质的文章,简直把读者当傻瓜。这样的‘传略’,还不如不写。】





******************************


·美国文化政策的源起(1960年之前)


http://collection.sina.com.cn/hwdt/20131028/1012131432.shtml




·猴子扮戏 >>>
...一小撮聪明的文艺人为了粉饰太平献媚当权,努力模仿西方抽象表现派的作品、东拉西扯拼凑、故弄玄虚混水摸鱼在商场笼络人脉,愚弄艺术圈外人和对纯艺术不知的读者...






7.蔡長璜:誰把大家搞得疑神又疑鬼了?《燧火评论》
(注:更多详情见欧阳文风著作《马来西亚装置艺术之父----李健省》附录(六)或《承诺书 2015-030-11:  http://www.leekianseng.com/lee_LetterUndertaking.pdf


13.             怎样才可以称作家” 




·“2015127日与李健省第一次见面是在环境优美的巴生皇家俱乐部(Royal Klang ClubMalaysia) ;是一场愉快的相遇。与我随行的还有来自马来西亚柔佛州峇都峇辖(Batu Pahat, JohoreMalaysia)的汤铭玮(Thong Ming Woei ) 同学。他就读于北京清华大学美术学院,正为硕士论文《百年马来西亚华人社会与版画艺术发展关系研究》向李健省讨教大马版画资料与石版画艺术进行考究。李健省于1977年设立马来西亚第一间石版画工作室。2009年马来西亚槟城州艺术馆曾主办李健省石版画个展 (1977-1978). [A collection of Litho (1977-1978)] 。这创作于30年前系列石版画的处女发表震撼了马来西亚艺术界。”


也有乡愿笼络两三位媒体人垄断言论,谋取私利,编造历史叙事误导公众。坊间一些所谓的 史实记录美术史传略也似是而非,自矜功伐地臆造了。

不断重复甚至可以使已知的谎言听起来更可信。

 


·马来西亚收藏家兼作画廊拍卖行现象,借用龙应台的文字:...岂不等于既是驰骋场上的球员,又要做吹哨子论成败的裁判 ”  紧追着历史的脉搏是收藏品的首要条件,包括有公信力、有据可依的业绩作支撑,这是超越市场的。Principal of collection>>> Should pursuit the pulse of history.





·15 >文明


Video of the work 1988-01-17的视频






👉有些人的行为已构成诽谤和恶意

李健省(Lee Kian Seng)的名字于1960年代被人盗用去注册艺术家协会(律师从社团注册局获得以下资料):5_Lee5_Lee健省名字1975被盗用去注册皇城艺术家协会健省名字1975被盗用去注册皇城艺术家协会

   👉《人祸比天灾可怕·道德危机》









上图:百度百科的错误信息来自马来西亚巴生的  goodenei.com





2002: 类似虚幻史观的乱套较早曾出现在马来西亚国家艺术馆于2002年出版的 Masterpieces from the National Art Gallery of Malaysia》(自马来西亚国家画廊的杰作 )。在第186页和187页里共有6处严重错误;作者 Redza Piyadasa篡改李健省 Mankind (人类)的作品构成,语境和创作年份( i.e1972年篡改去1992年、混淆历史流程和真相)

 

国家艺术馆于2015311日签署的《承诺书》第5项(e)和(b)阐明,该书自当日开始停止在馆内外或公共场所或书局出售或展示,直到该书的修订本出版、并插入上述著作和国家艺术馆官网:

 

2021: 2021830日出版的修订本中,马来西亚国家艺术馆官方确认, Masterpieces from the National Art Gallery of Malaysia》(自马来西亚国家画廊的杰作 作者 Redza Piyadasa2002 年第 186 页里所写的文章被李健省的文章替代;并在《星报》( The Star Malaysia 20 December 2021, p.15),32nd Edition of KINISENI 国家艺术馆官网刊登通告(NOTICE)。

 

 

2007: 20075月李健省(LEE Kian Seng)大病在新加坡医治。

Masterpieces from the National Art Gallery of Malaysia》的作者Redza Piyadasa 20076月去世。

 


2007: 200712月,有人擅取国家艺术馆出版Masterpieces from the National Art Gallery of Malaysia (authorRedza Piyadasa )186187里的错误资料,肆无忌惮地在下列3私人网站刊登: (a) wuyahong.blogspot.com (吴亚鸿 / Goh Ah Ang); (b) topart.com.my(c) goodenei.com

 明知故犯、居心叵测

2022422日,马来西亚国家艺术馆证实、全然不知有人擅取其出版的Masterpieces from the National Art Gallery of Malaysia 》文本,包括186187里的大量错误资料加工后,在上述网站刊登。上述3个网站所刊登的 Mankind》图片、解说、创作年份以及李健省( Lee Kian Seng )的个人资料皆不正确,污蔑了李健省在国际上的公众形象。形象伤害已经造成很多很多年。


参照:

国家艺术馆《承诺书》:   http://www.leekianseng.com/lee_LetterUndertaking.pdf  

国家艺术馆官网:https://www.artgallery.gov.my/notis-pemakluman-karya-karya-instalasi-lee-kian-seng/


@@@@@@@@@@@@@@@@







当年的学生包括谭业兴,潘金海等







@@@@@@@@@@@@@@@@@@
















20153月与副刊主编何雪琳在《南洋商报》餐厅会面后,彼此话题相投让我们当机立断合作这项意义深远的作品回顾


欧阳文风访问后语

“……对一些人,生命是幻觉。对某些人,生命是骗局,可以自欺,可以欺人。对他(李健省),生命是艺术,艺术也是他的生命。活了六十年,他还是看不惯有人颠倒是非,他还是执意与人竞争创造现实。当种族主义居高临下,所向披靡,他没有因此退缩却步。他还是要用他的生命整理历史。历史,往往是体制支撑和配置的权力之一种论述,可以和真相对立,可能与谬误为伍。弱势者的声音被视为噪音,是没有意义的声音 。可是李健省始终拒绝沉默。他用他的方式阻止真相模糊与消灭。

写这本书,不只是为了他,也是为了我们的未来。李健省是我国的文化资产。


欧阳文风稿于纽约


















·17 >其大无外·其小无内










    

 















·13 >突破茫然







·12 >生生不息


















   






·8 >激发创新意识































<李健省更正:欧阳文风稿于200612>



·3 >自天空


<李健省更正:最后段第一句第二行是 “...起诉.”, 不是上诉’> 









〈李健省更正:作品赏析的第9和第10行分别是 “495 “28个奖项






李健省更正:在小标题 ‘人类 无心之过的错误 的第三段第4行是 ..艺术家的收藏 (Artist’s collection ) ’,不是 ..由国家艺术馆永久收藏’




2008218日朝圣后自印度回马来西亚,次日金马伦Strawberry Park酒店总经理来电话说有一对来自德国的数学教授夫妇要来巴生向我买画。还在半疑信中他们在2008220日真的来了,从吉隆坡的Hotel Equatorial包租德士专程到巴生我家.....


....石版画起源自18世纪末的德国,是由石印术发展而来的。实际上我是从研究石版画开始体验德国的优秀文化......(待续)




































@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ 







https://www.google.com/search?q=%E6%AE%87%E3%80%8B+Jacqueline+Du+Pre&rlz=1C1CHBF_enMY979MY979&oq=%E6%AE%87%E3%80%8B+Jacqueline+Du+Pre&aqs=chrome..69i57.22713j0j7&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:6d9ec021,vid:h63Nm2T-XpU


·人的一生,到底在追求甚麼




Santana - black magic woman      

El Condor Pasa  by Simon & Garfunkel (1970)  https://www.youtube.com/watch?v=pey29CLID3I


The House of the Rising Sun
     

https://www.youtube.com/watch?v=0sB3Fjw3Uvc

                                                      



















   '

  •   ' Lee Kian Seng is awarded the Tokyo Creation Award Overseas Prize (1993) for his role in having ‘developed batik into a modern art’ and having ‘made known worldwide batik/dyes painting'
    (Love me in my batik: Modern Batik From Malaysia and Beyong, ILHAM 28 FEBRUARY-15 JUNE 2016)

  • ‘For if batik doyen Datuk Chuah Thean Teng had transformed a batik craft tradition into the modern pictorial format, it is Kian Seng who push it in quantum leaps to the true painterly effects never thought before’
( Ooi Kok Chuan, New Strais times,January 25, 2006)

艺术专栏记者 Ooi Kok Chuan 观察到,如果蜡染大师拿督蔡天定将蜡染工艺传统转变为现代绘画形式,那么正是 李健省将其推向了前所未有的真正绘画效果(新海峡时报马来西亚,2006 1 25 日)。






















part detail of a genuine work by Lee Kian Seng
























Test-tube Baby (Manusia Tabung Uji, 1979,part detail ) by Lee Kian Seng














----------------

创价学会池田大作SGI会长曾说,一切始于懂得尊重他人的尊严、欣赏他人的潜能和人类美好的存在。SGM透过出版具有人文价值的刊物和书籍,使大众醒觉自身的神圣尊严,以期建设一个充满人性及和平的世界。

遗憾的是,200346 20日马来西亚创价学会(Soka Gakkai Malaysia)于吉隆坡的策展 “Installation Art Exhibition”(〈思想><空间〉装置艺术展 ) 目录的导言 Introduction)的历史叙述有失偏颇

正确的史实可参考马来西亚国家艺术馆于2021830日所出版的 "REVISED VERSION"https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/

 

以及2017-10-31马来西亚理科大学艺术学部出版的学术论文:《Changing Approaches: Installations Produced in the Malaysian Art World--作者:Dr Sarena Abdullah 教授。https://www.researchgate.net/publication/320903312_Changing_Approaches_Installations_Produced_in_the_Malaysian_Art_World

 

希望马来西亚创价学会早日改正上述导言里的错误。

 

******************

“…很多人选择和相信特定的讯息来源,看到的只是片面的讯息,也倾向于看到他自己愿意看的部分,从而得到自己所要的结论。而如此过程,排挤掉了多元资讯和客观平衡的观点(摘自不要成为死忠和愚民”-郑丁贤,24.4.2022 星洲日报广场))

“……最可怕的社会压制恐怕不是赤裸裸的打压与对异议分子的虐待,而是一种將歷史淹没与变形的论述策略,製造一种知识系统的规范与秩序,使以后所有的言论敘说,都必须在其既定的准则和戒律框架中进行。” --- 欧阳文风(摘自南洋商报新视野2008-04-28《马来西亚装置艺术之父――李健省》)

在种族政治凌驾于学术伦理的环境中,不免有沙文主义人物借助文化冲突作筹码,以虚幻史观,企图实现私人的议程,有时甚至会顺应政局捏造事实,沦为服务于政客议程或商业工具。在一个盛行贪腐共犯的时代一些历史叙事尚未被质询和交叉盘问,坊间一些所谓的史实记录美术史传略也似是而非,自矜功伐地臆造了。

 





Dato’(Ms) P.G.Lim delivered the following official speech at the presentation of awards of the Young Contemporary Exhibition 2000 at the National Art Gallery, Malaysia on the 30th January 2001 .

[ Since its inception in 1974, the Young Contemporaries Exhibitions (Malaysia) have become a platform for exhibiting and exposing the works of young artists below the age of 35 to the eyes of the general public. More than that they have over the years served to motivate them to develop meaningfully and effectively within the context of modern Malaysian art.  

This year there was a panel of six judges which included a guest judge – an art lecturer from the University of the Philippines. The panel was headed by Joseph Tan, himself an artist of note and a former part-time director of the Balai Seni (National Art Gallery Malaysia). A total of 83 works were received out of which 27 are on display and from which the winners have been selected.  

The Judges’ Report draws attention to the fact that the works displayed are dominated by installation and multimedia works; paintings are in a very small minority. This is very evident when one views the works. It is a development upon which globalisation even in art has had a profound impact. The predominance of installations present in this exhibition irrespective of which school of art you may come from is proof enough of that.  

Installation art is not new, but it is of recent origin. In the 1970’s it was a newborn term, and did not rate as a term of specialization until the 1980’s. The term used was mixed media; now such works are described as multimedia. For example, the Balai Seni (National Art Gallery, Malaysia) from the very beginning in 1975 has used the term media campuran (mixed media) to describe its prize-winning installation works of the seventies and eighties. In today’s catalogue however the term used is simply campuran (mixed) – no less and no more, but we may conclude that they are in fact installations.     

  We may, I think take a little pride to discover that our own young artists of the seventies and eighties were already involved in creating their own three-dimensional works which did not fall into the category of painting or sculpture. Specialisation in installations had not yet begun. But the creative process among our young artists was at work. If you will take a little time to browse through that excellent Review of the Young Contemporaries Malaysia – Imbasan Bakat Muda Sezaman – from its inception in 1974 to 1997 you will discover to your surprise that at the second Y.C. Exhibition in 1975 the major award was won by Lee Kian Seng for his installation Permainan Poker or Process in Poker Playing then described as Media Campuran (mixed media). But before that he had won an award in 1973 with another installation work called Mankind (created in 1972) now in the collection of the Balai Seni (National Art Gallery, Malaysia).

  This was in the seventies before installation art had acquired its name as such. Lee Kian Seng whom I would describe as the progenitor or father of installation art in Malaysia was already exploring the limits and dimensions of painting on canvas by his installations. He admits in a newspaper interview that at the time he created them he did not know what to categorise his pieces. “I only knew I wanted to create something new” said he. “Art is about discovering the unknown and an artist should be able to work with many types of media”.

  Lee Kian Seng was followed in 1981 – the year when the Y.C. Exhibitions were resumed after a hiatus of some four years by another major award winning installation by Ponirin Amin with his Alibi Catur Di Pulau Pinang. The following year 1982 it was Zacharia Awang who won the major award with his installation work Al Rahman. From 1988 onwards both major and minor awards have been given to multi media and installation works. It seems that the entries were dominated by such works. Little wonder then that these developments have culminated – with one exception – in all awards whether major “Jurors” or special mention being won by multi-media and installation works in today’s exhibition.

  You will find works which involve groupings of objects in three dimensional space which can be walked around or through or handled and felt. The installations are formed of many components and the materials diverse and complex. Sometimes they are presented elegantly, sometimes in ways  which are ugly or inelegant as in some exhibits in the Royal Academy's hyped up show last year entitled Apocalypse Beauty and Horror in Contemporary Art, but they are always challenging. There are in today’s exhibited works, a melding of the multicultural ethos in our society in which all the cultures are involved as shown by the diversity of expression and which give room for cultural optimism. Installations which in the early days were often regarded as impermanent are now regarded as collectible and worthy of permanent display.

  I congratulate the Young Artists for having participated in this competition and showing us the level of their achievements. By doing so they are making a positive contribution towards the development and promotion of the visual arts. ]   

 by  Dato’(Ms)  P.G. Lim / 2001/01/30  

The National Art Gallery Malaysia was established in 1958. Ms P.G. Lim (Tan Sri) a lawyer, was then the first deputy chairman of the Board of Trustees as well as the chairman of the Exhibitions Committee. Apart from being the convener of the first Salon Malaysia (1968) art exhibition, she had  been the first permanent representative of Malaysia to the United Nations, and a Malaysian Ambassador to Yugoslavia, Belgium and Austria respectively. She had also been a former chairperson of the UN General Assembly and the Economic and Social Council, a member of the National Advisory Council, the secretary of the Malaysian Bar Council, an attorney for the Malaysian Trade Union Congress, and the former director of the Kuala Lumpur Regional Arbitration Center, Malaysia. She was a member of the Institute of Strategic and International Studies (ISIS) P.G. Lim knew the origin and development of the Malaysian art scene like the back of her hand. She wrote about the development of Malaysian installation art as she witnessed it. She passed away in Perth, Australia on 2013-05-07.    http://www.youtube.com/watch?v=8WuDh5Chh1Q&list=UUGd70HWXBh2OpxhCXjLN8RA

-------------------------

For the 45 @ 45 exhibition (in 2003), in conjunction with the 45th year of its establishment of the National Art Gallery Malaysia, Dato’(Ms) P. G. Lim selected and interpreted the work <Of ' Image, Object, Illusion ' -Off Series Mechanism>  as follow:



 

李健省 (Lee Kian Seng)- --亚洲独立艺术家                        202309012
http://www.leekianseng.com/lee_YZZK.pdf          http://lee-kian-seng.blogspot.com/                   http://www.leekianseng.com/lee_Bio.html

           

李健省 (Lee Kian Seng) 是马来西亚最重要的多媒介当代艺术家之一,其创作包括绘画、雕塑、石版画、染色艺术和装置艺术。1948 年出生于中国(福建金门)。

 

1964年以作品《三轮车夫与鸟》应邀参加马来西亚国家艺术馆的全国美展National Art Exhibition

196618 岁,马来西亚艺术议会呈献其个人画展 (Exhibition of Paintings by Lee Kian Seng, an Arts Council Presentation,17-22 October 1966) ,广受好评,此后在马来西亚、泰国和日本举办了二十一场个展。
奉行终身学习,他设计了1966年至1968年的学习计划(详见简历)

1969年至1972年,在东京独立进行开创性的跨学科染色艺术研究, 涵盖了江户时代的浮世绘、能面等艺术。同期,于世界博览会(World EXPO 1970Osaka Japan)马来西亚馆发表了3次元作品《UNITY(团结)和三幅大型画作《黎明》、《正午》、《黄昏》 ("Dawn", "Noon" and "Dusk”)

1976年,荣获国际交流基金会Japan Foundation Professional Fellowship,表彰其杰出的才华和对艺术的贡献。

1976年至1977年,在东京国立艺术大学(Tokyo National University of Fine Arts and Music进行跨学科比较研究——染色艺术研究;同时也在私立东京版画研究所(Tokyo Hanga Kenkyusho /Tokyo Printmaking Atelier) 探索 “在热带气候下制作石版画的可行性” http://www.leekianseng.com/lee_Litho.pdf

 李健省标志性的作品,团结Unity19691970)、人类Mankind,1972)、红色的视窗From the Windows of Red,1972)、扑克牌游戏过程Process of Playing Poker,1974)、复始与消耗” (Resumption and Consumption1975)、形像、物体、假象 Of ‘Image,Object,Illusion’ - Off Series Mechanism ,1977)、铁锤与铁钉系列”( Hammer and Nail series,1977) 试管婴孩  ”Test tube Baby,1979),1970年代的 “Soul and Form” 等系列,确立了其在马来西亚当代艺术主流中的历史地位。

其作品自1965年开始被国家艺术馆选进国家展在英国、美国、德国、东盟(ASEAN)、日本等国家展出;其中包括世界三大顶级之一的 Sao Paulo Biennale 1969 、加拿大艺术节《人类与其世界》( Man and His World, Canada 1970)、《澳洲艺术节》 (Waratah Spring Art Festival, Australia 1965)、《世界博览会》( Expo’ 1970,Osaka Japan)、《东京国际版画展》(Tokyo Print Biennale,1979)、第一届和第四届在印度举行的 《三年一度世界艺术展》(Triennale of Contemporary World Art New Delhi 1967 and 1978)、日本福冈《现代亚洲艺术展》(1980)、《马来西亚当代绘画展》("Contemporary paintings of Malaysia" in Pacific Asia Museum, Los Angeles, U.S.A. 1988)、《马来西亚艺术》德国巡回展("Exhibition of Malaysian Art" touring Germany (1990-1991)以及新加坡美术馆开幕展(2015)等。

1984年,李健省受委代表马来西亚国参加在印度尼西亚举行的第三届东盟(ASEAN雕塑家论集会》,其国家代表作品《和平、和谐、一体》永久陈列在印尼雅加达的Taman Suropati

(详见: http://www.leekianseng.com/lee_Bio_1966_FirstOneManShow.pdf

https://www.faqing.org/forum/viewtopic.php?t=7988)

 跨越50多年,一贯专事艺术创作的生涯中,李健省的作品获得马来西亚国家艺术馆颁发的多项国家顶级奖项包括《艺术与版画公开赛,1977》(Open Art and Graphic Print Competition 1977 )艺术大奖和版画大奖、 “当代青年”  The Young Contemporaries 1975 )大奖, “马来西亚风景展的两个大奖之一( “Landscape Malaysia” 1972 ),《人与他的世界》 (Man and His World) 展小奖(1973 年)以及 《马来西亚沙龙(Salon Malaysia) 中的 3 个奖项(1968 年)。

其他荣誉包括马来西亚艺术议会(The Arts Council of Malaysia1966年的 《第十届青年艺术家》 展最佳奖和油画类首奖以及1964年《生活的情趣》 ( The Joy of living)B组第三奖。1988年他领导的国家队以作品《和谐》获香港《国际沙雕赛》国际组第二奖。(队长:Lee Kian Seng,队员:Zakaria AwangZulkifli YusofKung Yu LiewZainon Abdullah

1993年,荣获《东京创作大赏》海外奖(Tokyo Creation Award Overseas Prize,表彰其在染色防染技法领域的探索、创新和创造力,使蜡染/染色艺术闻名于世。

1994年,为马来西亚华文独中统考成绩优秀奖设计陈嘉庚奖杯。

 2000年,受Malaysian Structural Steel Association(马来西亚钢结构协会)邀请,担任其国际《Open Ideas Competition(开放创意大赛)》(东盟建筑师和设计师)的评审团成员之一。

 近年的《当今系列》(油画混合技法)主要在探索生命奥秘,人性关怀,反映人类的行为以及所面临的挑战;《无际系列》则重新思考艺术中永恒的精神价值。

 李健省(Lee Kian Seng)  1970年代在马来西亚国家艺术馆发表的一系列作品,表征了一个崛起的前沿思维,穿越了当年所谓(马来西亚)国家文化大会的喧嚣。

 马来西亚国家艺术馆总监-拿督赛阿末佳马尔(Datuk Syed Ahmad JamalNational Art Laureate)写道:李健省多才多艺的创作为丰富马来西亚艺术界做出了贡献在他的所有作品中都展现了创造力,智力含量和高水准的专业精神

诸如李健省创作之类的开拓性作品,都具有重大历史意义”,马来西亚艺术历史观察家人权律师林碧颜(Ms P.G. Lim (Tan Sri Dato’)20038月在马来西亚国家艺术馆的45@45特刊上撰文。

详见http://www.leekianseng.com/lee_YZZK.pdf
 https://www.iseas.edu.sg/wp-content/uploads/2021/10/Lim-Phaik-Gan-Biographical-Notes.pdf

 披荆斩棘20,李健省于2021830日成功协助马来西亚国家艺术馆修订4件(CTP)修订版,在1994年至2008年之间出版的四本历史书籍中,修正了一些重大错误,以及坊间一些机构特刊里的错误,包括:

I.  1994年的 Vision and Idea-Relooking Modern Malaysian Art  162 页的5项错误。(Edited by T.K.Sabapathy, with contributions by Krishen Jit, Redza Piyadasa, T.K.Sabapathy and Zainol Sharif  ;

II.  2002年的《Masterpieces from the National Art Gallery of Malaysia》(自马来西亚

国家画廊的杰作 )第186 187页的6项错误。(该书 作者 Redza Piyadasa篡改李健省的《人

类》(Mankind) 的作品构成,创作年份以及艺术语境( 1972年篡改去1992年)

                                

III. 2003  45@45》第 9295页的4项错误。(篡改林碧颜律师(Dato P.G.Lim)的评论

和李健省的作品);

IV. 2008 年的 Timelines》第 232页的3项错误(国家艺术馆的此项档案出错、馆长和主编有

回信道歉)。

(详见:http://www.leekianseng.com/lee_LetterUndertaking.pdf       http://www.leekianseng.com/lee_Klang_1.pdf

                  http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf 

https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/

 201910月起,马来西亚教育部将李健省( Lee Kian Seng)的成就编入国民型中学四年级美术教科书《PENGKHUSUSAN Sekolah Seni Malaysia Tingkatan 4 - Tokoh dan Pengkarya - Lee Kian Seng》页161

1822

荣誉:
1964:获B组第三奖(油画)@ The Joy of Living》马来西亚艺术议会主办The Arts Council of Malaysia,

              作品《生活的情趣》。

1966全场最佳奖(Best exhibit prize)与油画首奖(First prize in oil @《第十届青年画展》马来西亚艺术议会主办(The Arts Council of Malaysia),作品《 Kuala Terengganu》。

1968:   作品《The Pair》获雕塑组第三奖,《My Poem》获混合媒介组第三奖,《Villager》获巴迪画荣誉奖@《马来西亚沙龙》马来西亚国家艺术馆主办。

1972:获两个大奖(Major award)之一@ 《马来西亚风景》马来西亚国家艺术馆主办,作品《From the Windows of Red》。

1973:获小奖(Minor award@ 《人类及其世界》 马来西亚国家艺术馆主办,作品《 Mankind》。

1975:获大奖(Major award@《现代青年》展(The Young Contemporaries) ,马来西亚国家艺术馆主办,   作品《Process of playing Poker》和 Resumption and Consumption》。

1976 Japan Foundation Professional Fellowship

1977:获艺术组大奖(Major award)(作品 “Of ‘Image, Object, Illusion'-Off Series Mechanism” )、版画组

              大奖 Major award)(作品“Of 'Image,  Object, Illusion'-Off Series Mechanism 1”@《全国公开艺

               术及版画赛1977》(“Open Art and Graphic Print Competition 1977"马来西亚国家艺术馆主办。

1984:    受委代表国家出席于印尼 耶加达《第3届亚西安(东盟(ASEAN))雕塑家论集会》

               兼发表作品《和平,和谐,一体》(BSLN/0042/84)

1988 :李健省组织的国家代表队以作品《和谐》获《香港国际沙雕赛》国际组第二奖。队员包括:

               Lee Kian Seng Zulkifli YusofKung Yu Liew Zakaria Awang Zainon Abdullah(国家艺术馆档案

               BSLN/002/88)。
1993
:获东京创作大赏海外奖 (Tokyo Creation Award Overseas Prize) 表彰 “…其在绘画中对染色和防染技

               术的探索、创新和创造力,以及他将蜡染/染色发展成为现代艺术并闻名于世

               http://www.leekianseng.com/lee_TokyoCreationAward1993.pdf

 

Brief -bio

Lee Kian Seng(李健省)-- Asian independent artist   

http://www.leekianseng.com/lee_YZZK.pdf          http://lee-kian-seng.blogspot.com/                   http://www.leekianseng.com/lee_Bio.html

 Lee Kian Seng is one of the leading Malaysian multi-media contemporary artists, whose repertoire includes painting, sculpture, printmaking (lithography), resist-dyeing and installation art.

 Born in China in 1948, he moved to Singapore with his mother and brother to join his father in 1953, and settled down in Klang, Malaysia, a year later.

 He was first invited to the National Art Exhibition by the National Art Gallery of Malaysia in 1964, when he showed the work, "The Beggar and the Bird"(三轮车夫与鸟).

 At the age of 18 (1966), the Arts Council of Malaysia presented his solo exhibition to critical acclaim. Since then, he has had 21 other solos not only in Malaysia, but also in Thailand and Japan. Pursuing lifelong learning, he designed the Learning Program for 1966 to 1968. (detail in resume)

 From 1969 to 1972 in Tokyo, he independently conducted interdisciplinary study in “dyeing art” which incorporated “Ukiyo-e “ of the Edo period, among others. During the same period, the 3-D "UNITY" and three large-scale paintings "Dawn", "Noon"and "Dusk" were released at the Malaysia Pavilion at the World Expo 1970, Osaka Japan.

 In 1976, he was awarded the Japan Foundation Professional Fellowship, in recognition of his outstanding talent and contributions to art.

 His research, "Comparative study – Dyeing Art,” at the Tokyo National University of Fine Arts and Music and “lithography” at the Tokyo Hanga Kenkyusho (Tokyo Printmaking Atelier), from 1976-1977, has inspired him expand the parameters of the genre.

 He has been part of many international exhibitions since the 1960s, including the Sao Paulo X Biennale in 1969,the Waratah Spring Festival, Australia, in 1965; the "Man And His World" exhibition in Montreal, Canada, in 1970; the 1st and 4th Triennale of Contemporary World Art in New Delhi in 1967 and 1978 respectively; the Tokyo Print Biennale in 1979; the Contemporary Asian Art, Fukuoka, Japan, in 1980; the Malaysian Art touring Australia and New Zealand in 1969; the Malaysian Art at ‘Expo 70’ Osaka, Japan; ‘Malaysian Art 1965-1978’ Commonwealth Institute, London in 1978; the ASEAN Exhibition of Painting and Photography in 1982, 1983, 1984; the ‘Contemporary Paintings of Malaysia’ in Pacific Asia Museum, Los Angeles, United States, in 1988; ‘Malaysian Art’ touring Germany (1990-1991); and ‘Experience South-east Asian Art’ at the National Gallery Singapore in 2015.

Lee Kian Seng's series of works in the 1970s represented a rising cutting-edge thinking, passing through the hustle and bustle of the so-called "national culture" conference at that time.

 Wrote the Director of the National art Gallery Malaysia Datuk Syed Ahmad Jamal (National Art Laureate): " His creative versatility has contributed to the enrichment of the Malaysian art scene. In all his works Lee Kian Seng projects creativity, intellectual content and a high standard of professionalism.” 

( http://www.leekianseng.com/lee_YZZK.pdf)

 

Pioneering works such as those of Lee Kian Seng are of historical importance,” , commented  Ms P.G. Lim (Tan Sri Dato’, the recipient of the Merdeka Award 2009),a Malaysian art history observer and human rights lawyer ,in the 45@45 special issue published by the National Art Gallery of Malaysia.
http://www.leekianseng.com/lee_YZZK.pdf
 https://www.iseas.edu.sg/wp-content/uploads/2021/10/Lim-Phaik-Gan-Biographical-Notes.pdf

http://lib.perdana.org.my/PLF/Digitisation/OCR%20Done/OCR%206/OCR6-Done/000019/1009605.pdf )

As Malaysia's national representative at the Asean Square Sculpture Symposium in Jakarta in 1984, he built the monumental sculpture, "Peace, Harmony and One,” which is permanently displayed at Taman Suropati, Jakarta, Indonesia.  (http://www.leekianseng.com/lee_Bio_1966_FirstOneManShow.pdf )


In an illustrious creative output spanning more than 50 years, Kian Seng has won several top-notch national awards from the National Art Gallery of Malaysia including the Major Art Award and Major Graphic Award in the ‘Open Art and Graphic Print Competition 1977’; the Major Award in the ‘Young Artists  Contemporaries’ (Bakat Muda Sezaman) in 1975: one of the two Major Awards in the ‘Landscape Malaysia’ competition 1972; the Minor Award in the ‘Man and His World’ exhibition in 1973; and three prizes in the first ‘Salon Malaysia’ in 1968.

 His other accolades include the 3rd Prize (Category B) in the ‘Joy of Living’ competition in 1964; and the Best Exhibit Prize and 1st Prize (Oil Painting category) in the ‘10th Young Artists’ in 1966, both from the Arts Council of Malaysia.

 Lee Kian Seng led the Malaysian national team to 2nd Prize placing in the International Sand Sculpture competition in Hong Kong in 1988 with their work entitled HARMONY. (TEAM: Lee Kian Seng (leader), Zakaria Awang, Zulkifli Yusoff, Kung Yu Liew, and Zainon Abdullah). 

 In 1993, Lee Kian Seng won the highly acclaimed Tokyo Creation Award Overseas Prize, in recognition of his excellent exploration, innovation and creativity in 'Dye and resist technique', and for making known batik/dyes painting worldwide.

 In 2000, Lee Kian Seng was invited by the Malaysian Structural Steel Association to serve as one of the jury members of its international "Open Ideas Competition" (ASEAN architects and designers).

After 20 years, Lee Kian Seng succeeded in correcting some errors in four books published by the National Art Gallery Malaysia between 1994 and 2008, as well as errors in special issues published by some institutions,included:

  1. 994 Vision and Idea-Relooking Modern Malaysian Art  page 162. Edited by T.K. Sabapathy, with contributions by Krishen Jit, Redza Piyadasa, T.K. Sabapathy and Zainol Sharif  ;
  2. 2002: Masterpieces from the National Art Gallery of Malaysiaby Redza Piyadasa, page 186~187; 
  3. 2003: 45@45page 9295;
  4. 2008 :Timelinespage 232. https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/http://www.leekianseng.com/lee_LetterUndertaking.pdf        http://www.leekianseng.com/lee_Klang_1.pdf  http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf 

 Since October 2019, the Ministry of Education of Malaysia compiled Lee Kian Seng's achievements into the National High School Grade 4 Art Textbook PENGKHUSUSAN Sekolah Seni Malaysia Tingkatan 4 < Tokoh dan Pengkarya - Lee Kian Seng >on page 161.   (905)

 Awards:

1964: Third prize category B @ “Joy of Living “National Art CompetitionThe Arts Council of Malaysia, for the

            work” Joy of Living”.
1966: Best exhibit prize & first prize in oil painting section @ “10th Young Artists” The Arts Council of Malaysia, for 

            the work “Kuala Trengganu”.
1968: Third prize in sculpture for "The Pair", third prize in mixed media for "My Poem" & Honorable Mention in

             Batik for "Villager” @"Salon Malaysia" National Art Gallery Malaysia.
1972: Won one of the two Major awards (jointly with Redza Piyadasa )@" Landscape Malaysia " National Art Gallery

            Malaysia, for the work “From the Windows of Red”.

1973:  Minor award @ “Man and His World" National Art Gallery Malaysia, for the work " Mankind".

1975: Major award for the works “Process of playing Poker " and "Resumption and Consumption” @ "Young

            Contemporaries" National Art Gallery Malaysia.

1976:  Japan Foundation Professional Fellowship.

1977: Major Art Award for the work “Of ' Image, Object, Illusion'-Off Series Mechanism" and Major Award for the

           work "Of ' Image, Object, Illusion'-Off Series Mechanism 1 “in Graphic section @ national “Open Art and 

            Graphic Print Competition 1977" National Art Gallery Malaysia.

1984: Malaysia National Representative at the 3rd ASEAN Sculpture Symposium in Indonesia, created” Peace,

           Harmony and One” at Taman Suropati Jakarta, Indonesia. (BSLN/0042/84)

1988: Leader of the Malaysia National Team to the International Sand Sculpture Competition in Hong Kong, team

            work < Harmony > won the 2nd prize. Team members: Lee Kian Seng, Zulkifli Yusof, Kung Yu Liew, Zakaria

            Awang and Zainon Abdullah (BSLN /002/88).
1993: Awarded the Tokyo Creation Award Overseas Prize,
for “…exploration, innovation and creativity of dye & resist  

           technique in painting and for his role in having 'developed batik into a modern art' and having ' made known 

           worldwide batik/dyes painting.”