Dr. Ng Sau Wah, Sarah

Research Assistant Professor
Chinese Art History, Art Conservation and Museum Studies

Dr. Sarah Ng is an art historian specializes in late imperial Chinese painting, calligraphy and rubbings. Her current research also includes social history, museology and art conservation. She was an associate curator at the Hong Kong University Museum & Art Gallery, and an honorary assistant professor at the University of Hong Kong (HKU). She curates art exhibitions and conducts research projects on both ancient and contemporary Chinese art. She received her DPhil in Art History from the University of Oxford. She was a Chevening scholar and has a master’s degree in art conservation at University College London (UCL), and an MPhil in Art History at the Chinese University of Hong Kong (CUHK).

She has worked for many years as both museum intern and staff member, where she gained an in-depth understanding of many part of a museum’s operations. She also conducted research and gave lectures as a visiting scholar at Institute of History & Philology (IHP), the Institute of Modern History (IMH) at the Academia Sinica, Centre for Chinese Studies (CCS) in Taiwan, and Princeton University.

Dr. Sarah Ng specializes in late imperial Chinese painting, calligraphy and rubbings. Her current research also includes social history, museology and art conservation. She has worked for many years as both museum intern and staff member, where she gained an in-depth understanding of many part of a museum’s operations and acquisition. She conducted research and gave lectures as a visiting scholar at Institute of History & Philology (IHP), the Institute of Modern History (IMH) at the Academia Sinica, Centre for Chinese Studies (CCS) in Taiwan, and Princeton University.

Research includes and not restricted to the following themes.

  1. Rubbing Collections of the Ming Dynasty (1368-1644)
  2. Conservation Practices on Bronze Display Objects between the museums in China and the UK
  3. Manchu Characteristics in Qing Imperial Paintings
  4. Chinese Contemporary Ink Paintings
  5. Artistic Exchange in Cross-strait four-regions
  6. Rubbing collections from the HK museums
  7. Museum History and its Early Acquisition

CURATED EXHIBITIONS

Nostalgia in Contemporary Chinese Paintings (2 Nov 2016 to Jan 2017) [UMAG]

Black Tigers: Rubbings from UMAG Collection館藏精選拓本展覽 (May to June 2016) [UMAG]

Chen Xi: So We Remember 陳曦:所以記憶 (large-scale, 2 Mar.to 15 May 2016) [UMAG]

Nature in its harmonious Form: Paintings by Tao Wan 澐山、真意:陶澐藝術回顧展 (20 Jan to 1 May 2016) [UMAG]

Special Exhibition: The Truth: Three important victims of the June 4 Movement, 1989「生者與死者」專題展覽, 2 June to the present (on-going since May 2015) [June4 Museum 六四紀念館]

Collectors’ Gallery in Made in Hong Kong: Our City. Our Stories「香港製造:我城·我故事」專題展覽, [Hong Kong Maritime Museum (HKMM) 香港海事博物館] (5 February – 6 March 2015)

Vernacular: Liu Qinghe in Hong Kong 白話:劉慶和在香港 (large-scale, 16 Apr. 2015-31 May 2015) [UMAG]

Being-there: Recent Works by Chen Shuxia 此在:陳淑霞作品展 (16 Apr. 2015-31 May 2015) [UMAG]

Silent Poetry: Chinese Contemporary Ink Paintings 無聲詩 當代水墨 (11 Feb. 2015- 2 Apr. 2015) [UMAG]

Calligraphy by Dr. Ambrose So 「汲古融今」:蘇樹輝書法作品展 (2Dec to 22Dec, 2014) [HKU Foundation Chamber, Hung Hing Ying Building, HKU]

Conforming to Vicinity: Cross-strait Four-region Artistic Exchange Project 2014 因地制宜:兩岸四地交流計劃2014 (large-scale exhibition, Macao: Mar.-May 2014, Pingtung: May-Jul. 2014, Shenzhen: Jul.-Sep.14, Hong Kong: Nov. 2014 – Feb.15) [UMAG]

Six Decades of Acquisition: Chinese Figure Painting Collection Highlights 香港大學美術博物館六十周年展覽年館藏人物畫展 (28 Jan. – 31 Mar. 2014) [UMAG]

Selected Calligraphy from UMAG Collection 館藏精選書法展 (Sep. to Oct. 2014) [UMAG]

 

‘Calligraphy in Early Modern China’, in Haruhiko Fujita (ed.), Volume I: Design in East Asia, The Encyclopedia of Asian Design (Osaka University, Japan, 2017)

‘From Expressionism to Hyperrealism: Chen Xi’s So We Remember’, Christopher Mattison (ed.), Chen Xi: Be memorized Series (UMAG, HKU, 2016), pp.18-25.

Sarah S.W. Ng (author and ed.), Nature in its harmonious forms (UMAG, HKU, 2016)

‘Creating Her Own Truth on Canvas – Being-there with Chen Shuxia’, Being-There (Hebei, 2015), pp.15-33.

‘The Reception of Rubbing Collections in Ming China’, Shigetoshi Osano (ed.), Between East and West: Reproduction in Art (IRSA Publishing House, 2014), pp.313-318.

‘Art in Time: Chinese Contemporary Ink Painting,’ Silent Poetry: Chinese Contemporary Ink (Hong Kong, 2015), pp.15-29.

‘Contemporary Art by Hong Kong Artists in the Cross-strait Four-regions: Conforming to Vicinity,’ in Museum column, A.M. Post (Nov./Dec..2014), pp.18-21.

‘Exhibition Review: Conforming to Vicinity: A Cross-Strait Four-Region Artistic Exchange Project 2014,’ A.M. Post (Jan./Feb..2015)

Contemporary Art in the Four Regions through the Lens of Art History: A Study of Conforming to Vicinity Exhibition (從藝術史角度看兩岸四地的當代藝術:「因地制宜」展, bilingual), in Symposium Proceeding of Conforming And Confronting: Arts Around The Cross-Strait Four-Regions (Nov. 2014)

A Perfect Ending for Conforming to Vicinity Exhibition (「因地制宜」的完美結局, bilingual), in Cross-strait Four-region Artistic Exchange Project 2014 Hong Kong Exhibition Catalogue (Nov., 2014)

Sarah Ng (ed.), Conforming & Confronting: Academic Conference Proceeding (UMAG, HKU, Nov. 2014)

‘New perspectives in understanding the art of calligraphy in China’, in Michelle Huang (ed.), Beyond Boundaries: East & West Cross-Cultural Encounters. (UK, Cambridge Scholars Publishing, Jan.2012)

‘Literacies in the humanities: The student voice. Higher Education Research and Development’, in Higher Education Research & Development (Co-author: Prof. Carmel McNaught) (Sydney, Aug. 2011) Publisher: Research and Development Society of Higher Education

A Study on the school of Lingnan and Guohua hui, in Lingnan School Conference Proceedings, 2009. (In Chinese)(Guangzhou, 2010)

‘A Study of the Impact of the Chunhua ge tie on the Style of Ming Calligraphy’ in Shuhai guanlan II 書海觀瀾II.(In Chinese) (Hong Kong, 2009)

‘A Study on the Double Beauty II: Qing Dynasty Couplets from the Lechangzai Xuan Collection’, paimai yu shoucang 收藏‧拍賣 (Collecting. Auction) (in Chinese) (A magazine targeted at art collectors) Guangzhou, Oct. 2007

Princeton University Visiting Fellow Grant

Centre for Chinese Studies Fellowship at the National Library in Taiwan

Visiting Scholar at the Centre for Chinese Studies, Taipei

Visiting Scholar at Academia Sinica

KS Scholarship from Oxford University

Au Ping Reyes Award Oxford (China Centre graduate research and travel grant)

UCCL Research Grant

Association of Art Historian (AAH) Voluntary Work Fund

Bei Shan Tang Foundation Scholarship Fund

The British Chevening Scholarship (UK Government)

DEAN’s List award for superior academic achievement in Humanities

My role is to stimulate students to learn and not merely to teach them. As long as I believe that the knowledge, concepts and experience are important and useful to them and they want to learn, I will share with them.

With reference to readings, I try to let the students sit in the driver’s seat. I offer my views and constructive criticism where necessary, while allowing the students to pursue what interests them.