Tsz Shan Monastery & Buddhist Art Museum, Hong Kong

Tsz Shan Monastery

 

Of course we all know this: money can’t buy you happiness. But for Li Ka-shing, Asia’s riches man, money can buy him a Buddhist Monastery, and possibly nirvana. I have wanted to visit Tsz Shan Monastery funded by the Li Ka Shing Foundation since its opening four years ago. However, the online booking system only permits visitors to book one month in advance and it was always fully booked when I tried. After learning about the opening of the new Buddist art museum in May, I was determined to pay the site a visit. And finally, I was able to book a morning slot – honestly I was a bit surprised by the popularity of this monastery.

Then I had to work out how to reach there, as it is located in the rural parts of Tai Po under the hills of Pat Sin Leng. I opted for public transport, taking both MTR and train, followed by a taxi ride uphill from the train station. It was easier than I had expected.

 

Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

 

The Tang dynasty-style monastery covers 500,000 sq ft of land, took over 12 years to build and costs HK$3 billion (US$384.6 million). It features a 76 metres (250 feet) tall bronze-cast statue of Guanyin, the Buddhist Goddess of Mercy, which is twice the height of the Big Buddha on Lantau Island.

The layout of this monastery reminds me of Chi Lin Nunnery, which is another Tang style Buddhist temple located in Diamond Hill. It is one of my favourite spots in the city, and I particularly like The Nan Lian Garden, a Chinese classical garden also built in the style of the Tang dynasty.

There is no scenic garden at Tsz Shan Monastery because its location is scenic enough. According to Feng Shui principles, a house is more valuable if it faces water while backed by a hill or higher land; this probably explains why this site was chosen.

 

Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery   Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

 

Although I complained about the online booking system, I also appreciated that the limitation of visitors policy has helped to keep the place sparse and tranquil. In a city where you are constantly being bombarded by noises, you are most likely to experience serenity here. And best of all, there is no incense burning here, so it is smoke-free, too.

Tsz Shan features a Grand Buddha Hall, a Universal Hall, a Great Vow Hall, a lecture hall, and a new Buddhist art museum which opened only a few days before my visit.

 

Tsz Shan Monastery   Tsz Shan Monastery

Tsz Shan Monastery

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Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery   Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery

 

Located underneath the Guan Yin Statue, the 24,000 sq ft museum houses precious Buddhist artefacts and objects from different parts of Asia, and many of which come from Li Ka Shing‘s personal collection. This is the first and only museum in Hong Kong that is dedicated to Buddhist art and relics. The Museum is set within a circular enclosure with very dim lighting, and there are staff scattered around to explain the history and origins of the artifacts. The exhibits comprise 100 Buddha statues and 43 hand-copied sutras on permanent display. Visitors can scan the barcodes near the artifacts with their smart phones and download the information to learn more about the works. I am not a big fan of this technology as the lighting there was too dim to read, and I couldn’t save the info to be read later either. I think the museum should have some printed information for visitors to learn more about the historical significance behind the artifacts if their aim is to educate the public.

 

Tsz Shan Monastery

Tsz Shan Monastery   Tsz Shan Monastery

Tsz Shan Monastery

Tsz Shan Monastery   Tsz Shan Monastery

img_3718

Tsz Shan Monastery   Tsz Shan Monastery

Tsz Shan Monastery

Inside the Buddhist Art Museum

 

Although there are an estimated 1 million Buddhists in Hong Kong, according to the Hong Kong Buddhist Association, many of them (esp. elderly) tend to associate Buddhism with superstitious rituals such as burning incense for blessings, and they do not practice mediation. With the interest in Buddhism is growing in recent years, mindfulness and meditation have sparked the interest of the younger generation. At Tsz Shan Monastery, they offer activities such as meditation and sutra copying, educational workshops, as well as seminars, which hopefully would make Buddhism more relevant to the younger generation.

At the end of my visit, I saw a group of anxious men (who looked like body guards) gathering, and then I heard a few people saying loudly: ‘Hello, Mr Li! How’s your health?’ I turned around and saw a small old man dressed in black suit, smiling and waving to the small crowd nearby. It was Li Ka Shing. He seemed friendly and exchanged greetings with the crowd as he got into a golf cart-like vehicle. According to some reports, this monastery is rumoured to be Li‘s (90) final resting place, and if this is the case, then he has found the perfect spot. Who needs happiness when money can buy you serenity in your afterlife?!

 

Tsz Shan Monastery

 

HK heritage: “Once lost but now found” exhibition at Oi!

oi!

oi!

 

In the middle of a busy commercial and residential district in North Point, a Grade II historic colonial-style building surrounded by highrise looks rather out of place here. Built in 1908, this heritage building was the clubhouse of the Royal Hong Kong Yacht Club located on Victoria Harbour’s foreshore. But the reclamation project in 2009 changed the area’s landscape and now the coastline has since moved northwards.

Located at Oil Street, the building was converted into Oil Street Artist Village from 1990 to 2000, and in 2013, the Government’s Leisure and Cultural Services Department developed it into Oi! art space aiming at promoting arts and providing venue for exhibitions.

It was my first visit to the art venue; from afar the green lawn and outdoor seating area looks like an oasis in the busy district. It also appears to be a popular lunch spots for white-collar workers in the area.

 

oi!

oi!

oi!

 

The exhibition “Once lost but now found” explores the geographical history of Oi! and its relationship to the sea. As a witness to the course of time and the evolution of cities, the sea evokes emotions and memories, responds to the development of natural ecology and, at the same time, shapes the cultural ambiance of the city and tells the story of the island.

Four artists Zheng Bo, Leung Chi-Wo and MAP Office (Laurent Gutierrez and Valérie Portefaix) were invited to explore the relationship between nature, culture and society, examining the history, present and its possible future.

Chinese artist Zheng Bo‘s text installation “You are the 0.01%” was inscribed boldly on the lawn. The project is based on two publications: In 2011, economist Joseph Stiglitz’s published article titled “Of the 1%, by the 1%, for the 1%.” He writes, “The upper 1 percent of Americans are now taking in nearly a quarter of the nation’s income every year.” Then in 2018, three scientists published a study in the Proceedings of the National Academy of Sciences titled “The Biomass Distribution on Earth.” They estimated that humans account for only 0.01% of Earth’s biomass, but consume 30% of the biosphere’s total primary production.

Zheng Bo‘s project aims to address the issues of inequality and biosphere inequality. The grass on the lawn reminds us that we are only 0.01%, and we must protect the rest of the ecosystem.

 

Zheng Bo, YOU ARE THE 0.01%

Zheng Bo, YOU ARE THE 0.01%

Zheng Bo: You are the 0.01%

 

In the main gallery, a conspicuous bamboo installation entitled “Ghost Island“, two videos and documentations are installed by MAP Office (Laurent Gutierrez and Valérie Portefaix). Created for the 1st Thailand Biennale 2018, “Ghost Island” is a 9-metre high bamboo construction covered with piles of ghost fishing nets collected in the sea around Krabi. The installation recalls the particular geology of the surrounding islands formed by the accumulation and stratification of numerous distinct layers. It also addresses waste at sea, and the difficult but necessary labour needed to protect our environment. Reconstructed in Oi! is a smaller version, partially built by Cheung Chau Island fisherman and Hong Kong beach-cleaning volunteers.

One of the video shown at the exhibition records the construction of three artificial islands designed by the artists on a tidal beach near Krabi on Thailand’s Andaman Sea. The other records a fictional day for a fisherman living on the Andaman Sea’s Ghost Island. Both videos are fascinating, and they address environmental issues facing these fishermen, including rising seawater levels due to global warming.

 

MAP Office (Laurent Gutierrez and Valérie Portefaix), Ghost Island

MAP Office (Laurent Gutierrez and Valérie Portefaix), Ghost Island

MAP Office (Laurent Gutierrez and Valérie Portefaix), Ghost Island

MAP Office (Laurent Gutierrez and Valérie Portefaix), Ghost Island

MAP Office (Laurent Gutierrez and Valérie Portefaix), Ghost Island

MAP Office (Laurent Gutierrez and Valérie Portefaix), Ghost Island

 

In another room, Leung Chi Wo’s “Scratching on the surface” installation is presented in a dark room with a two-channel video projected on a long wall behind a pool of actual seawater installed in the gallery. The videos are reflected on the pool’s mirror water surface.

The installation is based on the notion of memory—our own memory and water memory—a controversial theory devised by French scientist Jacques Benveniste. Using words and imagery of nature and water, the poetic installation was shot in various locations in Hong Kong and Thailand, all connected ultimately by water, which echoes the fluidity of memory.

 

Leung Chi Wo, Scratching On The Surface

Leung Chi Wo: Scratching on the surface

 

In a separate building, architect team Streetsignhk was commissioned to create the ‘Sign City’ immersive installations, featuring Hong’s Kong’s famous neon signage. Various traditional signage and signboards are installed in s small room covered with mirrored walls and floor. Outside of the room, visitors are invited to create their own signboards and get to know the different aspects of this dynamic building component. The craft of neon signage is dying in Hong Kong, and hopefully this exhibition would bring awareness to this unique heritage that makes Hong Kong’s streetscape so special. You can read more about this topic via my previous post here.

 

  sign city

  sign city

 

 

 

Hong Kong heritage: The Hong Kong Railway Museum

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After my visit to the Green Hub, I walked downhill and headed towards The Hong Kong Railway Museum located about 10 minutes away. This is a small but very pleasant free open-air museum that is likely to attract railway fans and families with children.

Located at the old Tai Po Market railway station built in 1913, the station buidling is of indigenous Chinese architectural style, with pitched roof and decorative figures on its facade that are commonly found in old southern Chinese temples.

 

The Hong Kong Railway Museum

The Hong Kong Railway Museum   The Hong Kong Railway Museum

The Hong Kong Railway Museum

The Hong Kong Railway Museum

The Hong Kong Railway Museum

 

The Kowloon-Canton Railway (British Section) opened in 1910, and Tai Po Market station was erected three years later as one of the stops in the New Territories. After the Kowloon-Canton Railway was electrified in 1983, the station was taken out of service and was declared a monument a year later.

Inside the building, there are permanent exhibits of the station and railway’s history, a refurbished ticket office, and signalling house.

 

The Hong Kong Railway Museum   The Hong Kong Railway Museum

The Hong Kong Railway Museum

The Hong Kong Railway Museum

The Hong Kong Railway Museum

The Hong Kong Railway Museum   The Hong Kong Railway Museum

 

However, the main attraction here is not the exhibits, but the heritage locomotives on display, and the six coaches where visitors can walk through. One of the heritage locomotives is the W. G. Bagnall 0-4-4PT narrow gauge steam locomotive that ran on the narrow gauge Sha Tau Kok Railway line between Fanling and Sha Tau Kok. When that closed, the two steam locomotives were transported to the Philippines to be used by the sugar mills. The locomotives eventually returned to Hong Kong and were restored.

The second locomotive is Sir Alexander diesel locomotive that was introduced in Hong Kong in 1955 to replace the steam ones, and it was named after former Governor Alexander Grantham.

 

The Hong Kong Railway Museum

The Hong Kong Railway Museum

Steam locomotive W.G.Bagnall 0-4-4T

The Hong Kong Railway Museum

Sir Alexander diesel locomotive

 

The six other coaches are from different periods: 1911, 1921, 1955, 1964 and 1976. Visitors can walk through each coach to see the changes that took place over the years.

 

The Hong Kong Railway Museum   The Hong Kong Railway Museum

The Hong Kong Railway Museum

The Hong Kong Railway Museum   The Hong Kong Railway Museum

The Hong Kong Railway Museum

 

There were very few other visitors while I was at the museum (probably because it was a weekday), and I really enjoyed my visit. From the archive photographs, I could imagine how exciting it must had been when the railways were built and steam locomotives were introduced. Although this is not a major museum, it traces and celebrates the history of Hong Kong’s railway, which has played (and continues to play) a crucial role in the city’s infrastructure. Hong Kong’s public transport system is regarded as one of the best in the world, and ironically it has surpassed the British system decades ago, so if you want to see where it all started, this museum would be a good starting point.