Taiwan's literature is self-aware, confident and flourishing, especially in the field of the novel. Contemporary novelists look for realistic subject matter. As a result, novels are gradually taking on a social function.
The United Daily News annual best short novel contest drew 739 entries last year. Hsiao Yeh (Li Yuan) won first prize with "Force-Out," which depicts the anguish of a baseball Little Leaguer caught between the pressures of his father and others.
Judges were impressed with Hsiao Yeh's technique, The stream of consciousness approach presents the suspense of the game within only a few minutes of real time.
Hsiao Yeh was graduated from the Biology Department of National Taiwan Normal University and is now working as an assistant at the Yang Ming Medical College in Taipei. He became serious about writing in his senior year at the university. His "Revival of a Pupa" and "Spider in the Test Tube" were published in the mid-1970s. The "Revival of a Pupa" and "War Between Boys and Girls" are being made into movies.
Hsiao Yeh received prizes from the National Liberal Art Association and the National Periodicals Association.
"Happy Mountain Climbing" by Chiang Hsiao-yuen also won a prize. A widower doesn't know what to do with himself after retirement and becomes overly sensitive and bored. In his mountain climbing, he comes to know an old widow with whom he can share his life.
Chiang Hsiao-yuen started writing early but wasn't interested in publication until a friend recommended her work to a literary magazine. Her attitude toward writing has not changed. "I write as I like," she said, "I don't force myself to produce a certain amount by a certain time, I constantly hear people saying that my choice of words is very elaborate. When I write, I don't spend much time choosing words, but just write as I feel".
This 23-year-old novelist is an education major at National Taiwan Normal University. A selection of her short novels, "Swei Yuan," has been published.
Wu Nien-chen's (Wu Wen-chin) "Go See the Play" was another prize winner. It tells of the life of miners and their fears of disaster.
This 25-year-old writer worked his way through high school and is now a night student in the Accounting Department at Fu Jen Catholic University. He works in the library of a hospital during the day. "When I see injustice or something else to feel strongly about, I write to relieve my feelings," he said. His selection of short novels, "Seize One Spring," has been published. (Liu Li)
Dynasty - Painter Chang Ta-chien
Chang Ta-chien is said to be the finest Chinese painter alive today. Actually, painting is only one of the accomplishments of this multitalented man; he is expert in such arts as poetry, calligraphy and seal carving. He is 79 years old, born in Szechwan province at the end of the 19th century.
Chang Ta-chien began learning painting from his mother at a very early age. A little later he went to Shanghai to pursue his studies and learn calligraphy under the renowned masters Tseng Nung-jan and Li Mei-an. There he laid a solid foundation.
Still later he devoted his attention to painting, visiting the famous scenic spots of China and studying the works of the masters. During the Second World War he traveled as far as Tunhuang (site of the famous Buddhist caves), where he spent years of tireless work studying the murals of the Northern Wei, T'ang, Sung and Five Dynasties periods. He gained a deep understanding of the clothing, ornamentation and utensils used then, as well as the lines of human figures and the application of color.
Chang has had three styles of painting. The first covers his youth, in which he combined the simplicity of the T'ang with the techniques of the Sung to produce paintings of great vitality. The second phase followed his period of study at Tunhuang. His human figures underwent a change. Their strength of spirit and beauty of color is reminiscent of the masters of Chin and Tang times. The third phase is his post-60 impressionistic splashed ink technique, which had been used by Sung dynasty painters. Chang Ta-chien's paintings differ from those of the ancients in vividness. They seem to have form and yet be formless. Chang continuously seeks the original.
His calligraphy is also full of change. He has developed a running script uniquely his ownelegant, vigorous and imbued with classic beauty.
In poetry, Chang evidences a natural and unembellished vitality. There is not a single word which does not come straight from the heart. He has created a large body of poetry, much of which he uses as inscriptions on paintings. Occasionally he writes essays as well; some are in matched-sentence style and expound the subtle principles of Zen.
He collects chops - 3,000 of them over the years. Most were lost during the war years. He has only a hundred or two left. Some of the chops with which he stamps his paintings are interesting. One reads "Ta-chien, a Bit of Fuzz." suggesting that his talent is insignificant. Two chops made after his eyesight began failing proclaim him to be "Possessor of a Single Eye" and "Painter From the Heart." (Yang Ju-te)
Student Review - Taiwan's music scene
This year's theatrical triumph, The Place, was distinguished by contemporary Chinese musical accompaniment. Chen Chien-hua, the composer, is only 23 years old.
Shen Hsueh-yung, professor of music at the Chinese Arts College, said, "The young are composing their own songs. Be it popular songs or serious music, this development is a breakthrough in the world of Chinese composition, which has been stagnate since the end of the Ch'ing dynasty."
The popularity of Western music and instruments intimidated Chinese classical composers.
In 1974, Lin Hwai-min, a young dancer and writer, startled the artistic world with the unique choreography and music of his Cloud Gate Dance Troupe.
Hsu Po-yun, a composer for Lin, was known for his musical piece Wu Lung Yuan, a story of the murder of a magistrate's wife by her annoyed husband.
"I can use Western instrumentation for the most profound Oriental expression without any difficulty," said Hsu.
"Music is a universe that knows no boundary, no nationality," Chen Chien-hua agreed. "There should be no difficulty in composing Chinese music in a Western infrastructure.
"I find Western instrumentation more convenient," Chen said. "If handled properly, the flavor of Chinese music can be retained, even augmented, despite the strict Western rules."
Another composer, Wang Cheng-ping, conductor of the Chinese Classical Orchestra of the Broadcasting Company of China, uses Chinese instruments. Much acclaim has been given to his Lo Goddess and Fire Phoenix.
However, pipa (lute) expert Wang does not oppose playing Chinese music with Western instruments.
"The important thing is to make the instrument your own and Chinese. Perfect your skill," he said. "Take the piano, for instance. Play Chinese music on it and make the piano a Chinese instrument.
"After all, what we call Chinese music today is a collection accumulated through thousands of years."
Wang believes a faster rhythm is characteristic of the contemporary Chinese. This coincides with the opinion of Chen Chien-hua, who plays the nanhu, yang chin, kuchin and trombone.
"The essence of traditional Chinese music is peace, relaxation and association with nature," said Chen. "Modern Chinese are more tense and efficient. This makes rhythm essential."
What is the difference between modern Chinese music and that of the West?
"I can't really spell it out in words," said Hsu Po-yun. "We are all products of our environment. We write as we feel."
Wu Chu-chu, a singer and composer of folksongs, said, "Our music is a mixture of the East and the West, of the old and the new. It's ours as long as we gave it birth. Who cares about the difference?" (Shen Yi-ting)