Accumulated over the course of its existence, the museum has carefully selected 34 pieces for display. Two main criteria were used in making the selections: historical considerations and a desire for variety. The earliest piece dates to 1926, while the latest is from 2002. The pieces thus span a period of almost 80 years, with representative works from every decade in between.
Through these works the evolution of Taiwanese art and history can be clearly seen. Indeed, the museum’s curators consciously chose the pieces “to illustrate the development of Taiwan art history.” The works vary greatly in form and content. Included are oil paintings, sculptures, videos and various other art forms, arranged in seven separate rooms. The subject matter ranges from scenes of daily life to political and historical commentary.
Broadly speaking, the history of modern Taiwan can be divided into three very distinctive periods: the colonial era, from 1895 to 1945, when Taiwan was a colony of Japan; the martial-law era, from the end of World War II to 1987; and the democratic era, from 1987 to the present. In one way or another these three eras are reflected in the works being displayed.
In the pieces from the colonial era, the influence of Japan and the West can be seen. As Japan tried to modernize itself during the first half of the century, it imported many artistic techniques from the West. Oil paintings in particular were highly esteemed. To foster the development of Japanese art, annual Imperial Exhibitions, modeled after the art salons in France, were held in Japan. For a Taiwanese artist of this time, the surest path to recognition was to have his work displayed in an Imperial Exhibition. Two such artists were Chen Cheng-po and Liao Chi-chun, both of whom studied art in Japan during the 1920s. Chen’s “Street Scene on a Summer Day” (1927) and Liao’s “Courtyard with Banana Trees” (1928) both reflect the aesthetics of the time. The lavish use of yellow and green make their works full of joy and warmth.
Similar to the Imperial Exhibitions were the Taiwan Exhibitions, held annually in Taiwan from 1927 until 1938. These events exerted an enormous influence in the development of Taiwan art. Artwork done in the traditional Chinese ink and brushwork style was spurned. Gouache paintings concerned with the minute and realistic depiction of daily life were preferred instead. Several paintings chosen for display reflect this trend: Kuo Hsueh-hu’s “Festival on South Street,” Chen Chin’s “Leisurely” and Lin Chih-chu’s “Recess” all represent the artists’ “favorable” interpretations of life under the yoke of Japanese rule in Taiwan at the time.
With the end of World War II, the curtain came down on the Japanese colonial era as well. For many years afterwards, however, the dominant style of this period persisted. This style is reflected in three separate works: “Happy Farmers” (1946) by Lee Shih-chiao, “Temple of Confucius” (1956) by Kuo Po-chuan and “The Gate of Temple Tosho” (1982) by Chen Hui-kun.
But gradually sensibilities did change. With the influx of millions of immigrants from mainland China, a new outlook and new styles began to emerge. Many of the artists from the Chinese mainland were well versed in traditional art and culture. They were not content, however, merely to continue a tradition. They were interested in the possibility of representing Eastern culture using Western artistic techniques, and tried to infuse their art with the latest artistic techniques from the West. The result is a fusion, of East and West, of the old and the new.
Liu Kuo-sung’s ink painting “Rhythmic Flow” and Chen Ting-shi’s print “Lust for Life” are examples of this fusion. Their work combines modern abstract art with elements of traditional Chinese culture. Both Liu and Chen were members of the “Fifth Moon group,” one of the most influential art societies of its time, which promoted modernist art. Also noteworthy is Chen Chi-kwan’s ink and color painting “Yin Yang No. 2.” As the viewer’s eyes move across the scroll, a courtyard, the sun, boats on a lake and the moon all come into view. The work suggests a state of perfect balance and harmony between man and nature.
Compared with the colonial and democratic eras, relatively fewer pieces from the martial-law era are represented in this exhibition. Curator Lin Yu-chun explained that this is a reflection of both the strengths and weaknesses of the museum: it has many outstanding works from the other two eras in its collection, but fewer pieces from the martial-law period.
After the lifting of martial law, a burst of creative energy was unleashed in Taiwan. The museum was instrumental in promoting and encouraging new talent during this time, as the annual exhibitions of the colonial era had been earlier. “Many artists of the democratic period had their first exhibitions held in our museum. We have been blessed with the chance of watching these artists grow, and to grow with them,” Lin said.
During the first two eras, artwork was not used as a platform for commentary on the state of Taiwanese society. But after the end of martial law, political and historical themes came to the fore. “Zealandia Memorandum,” by Yang Mao-lin, the portraits of two prominent governors, one Dutch and the other Koxinga (1624-1662)—who had both ruled over Taiwan in the 17th century—raise questions about colonialism and identity. “Five Phases of President Chiang Ching-kuo,” by Wu Tien-chang, consists of five portraits of Chiang at different times in his life. The fierce and forceful depiction of the lines on Chiang’s face conveys Wu’s strong disapproval and criticism of the late president. The whole piece is a meditation on the nature of power.
Huang Chin-ho’s “Fire” (1992) covers an entire wall. Its bright and garish colors, its depiction of strange beings, of plants and weeds, combine to implicitly raise questions concerning our modern materialist culture. In Huang Chih-yang’s “Space Series,” long scrolls of rice paper with skeleton-like figures drawn on them hang from the ceiling. With their exaggerated sexual organs, the figures resemble modern satyrs.
Two works are for adults only, one for its strong sexuality, the other for its disturbing images. Hou Chun-ming’s “Gods Searching” is made out of a series of woodblock prints. It appropriates many themes from traditional religion to raise questions concerning social mores and the nature of erotic desire.
Chen Chieh-jen’s work, entitled “Lingchi—Echoes of a Historical Photograph,” makes reference to a picture taken by Georges Bataille, chiefly remembered as the author of “Story of the Eye,” one of the most scandalous books of the 20th century. The photograph shows a man who has just been executed “by dismemberment,” a cruel and unusual form of punishment if there ever was one. Chen reinterprets the picture by putting it in video form, forcing the reader to view the execution in slow motion. The work raises troubling questions relating to colonialism and globalization.
The last piece included in the post-1987 category is a sculpture of Buddha Sakyamuni. This was actually created during the colonial era, by Huang Tu-shui, the first Taiwanese sculptor whose work was showcased in the Imperial Exhibition. The value of this piece, depicting the compassion of Buddha for all sentient beings, was rediscovered only in the late 1980s, after having been overlooked for half a century.
By concluding with Huang’s work, the exhibition illustrates the various sources of cultural influence that have held sway over the production of art and aesthetic judgment on the island. The rarefied cultural air has led to the development of artists who possess the potency and creativity to express themselves beyond the limitations of time and space.
Write to June Tsai at june@mail.gio.gov.tw