Keeping the contents of the Ving Tsun Kuen Kuet Suen Hak as a focal point, this project essentially consists in a new edition composed around the integral transcription of the engravings, the methodical transliteration of the Chinese terms, and the careful translation of the contents of the artwork directly from the original Chinese text.
The Ving Tsun Kuen Kuet Suen Hak collection was originally published in a seal catalog entitled Ngau Gu Jaai Yan Po [Catalog of Seals of the Palaeophiles’ Studio]. One of this book’s exceptional features is the fact that it puts together art forms that belong to contrasting universes, the intellectual (man) and the martial (mo), encouraging those who appreciate either one to connect with the other. Once the Catalog has been out of print for years and since the translation of its contents remains unpublished (with the notorious exception of the third and last part, dedicated to the Ving Tsun Kuen Kuet Suen Hak stamps and rubbings), the publication of its reproduction and its translation is of great value not only to those who appreciate Chinese culture and arts but to Ving Tsun aficionados as well.
Aiming at a broader appreciation of the Ving Tsun Kuen Kuet Suen Hak, this project seeks to unite in a single book both the aesthetic features and the contents of the stone chops. Apart from incorporating the elements of Ving Tsun Kuen Kuet: A New Translation, the book will present an unpublished and detailed photographic registry, alongside the chops’ stamps and rubbings.
For the sake of catering to the particular requirements of collectors, this project is based on the idea of transferring, to other media, features that are distinctive of the artwork as it was conceived, like durability and individuality.
Stones denote permanence. In order to represent such a feature without having to call upon the artwork in itself we chose to employ cotton papers and mineral pigment peculiar to the fine arts, which may be preserved for hundreds of years.
The chops are, by their nature, independent pieces and, hence, may relate to one another in varying ways. If we are to observe the collection, we will realize multiple grouping possibilities (by contents, by color, by style, by size, etc.). By employing printed but unbound photos we may provide the collector with this important extra feature of the Ving Tsun Kuen Kuet Suen Hak, something unfeasible in the previous projects.
A rigorous process of color management, ranging from image capture to digital printing (giclée), will render a reliable representation of the main material features of the stones (size, color, etc.), which will offer the enthusiast a little more of the beauty of this refined art.