Neo-Humanist Trends in Taiwan's Contempory Art Neo-Humanist Trends in Taiwan ’s Contemporary Art By Pedro Tseng (Summary) Any artist in the world cannot refrain themselves from inclining towards the contemporary development, as environment , race and time are three inevitable and crucial factors. Hence, all the artists could carry on these three procedures: firstly, they could express their own ideal or aspiration through conventional arts or through literary symbols; secondly, they must connect themselves to certain representative experiences, events or facets of their time. They could then consequently comprehend the concept of staying with the time as ahead of time or avant-garde.The development of art in East Asia during the first half of the twentieth century has been through struggles from baptism of the western culture and modernization. Take the development of the western paintings in east Asia, for example: china applied the concept of “ Chinese 酒店兼職conception with western application “ under behind the background of conventional Chinese culture while Japan assumed “ Japanese spirit with western technique “ and Korea asserted “ eastern philosophy with western facility. “ modernism stresses on the presentation of individuality, and therefore, the notion of modernism has certain difficulties to expand in such east Asian society where Confucianism predominates.At the outset of Chinese art’s modernization, those Chinese artists were confronted by massive challenges and impacts from western art which was being introduced to the east at the same time. Nonetheless, if it were not for these dissimilarities, such as different painting concepts, materials and styles, between two systems of the east and west, such intricate versatility of contemporary Chinese arts would not have been accomplished. “western skills to embellish Chinese spirit” and “acquisition of novel techniques” are two obvious paths; take prominent artists like Liu 資產管理公司Haisu, Gao Jianfu, Lin Fengmian and Xu Beihong for example, after their return from France or Japan, they endeavored to integrate the theories and techniques of western painting into Chinese ink paintings, and thus created a brand-new Chinese ink painting by the notion of “ western skills to embellish Chinese spirit”. Modern Taiwanese artists thoroughly renounce the constraints of tradition when presented with “ tradition “or “ novel “ arts and devote themselves on the path of learning new approach by studying materials and techniques of western painting. For example, Taiwanese artists during Japanese colonial sovereignty embraced ishikawa kinichiro, readily acknowledged the authority of the imperial exhibition and Taiwan fine arts exhibition, and consistently pursued the painting style of impressionism and fauvism. Yet, few remain overseas among the elder generation of artists who went for studies abroad. For instance, Chang Yu and Pang Yuliang who died in Paris, Zhu Yuanzhi who died 長灘島of illness in New York, and Ho Delai who long resides in Japan; they are the first generation in the modernization in China. Their noble sacrifices composed a saddening epic for the first-generation oversea Chinese artists; as for those who received greater achievements, including Zhao Wuji, Wu Guangzhong, Ding Xiongquan and Zhu Degun, they didn’t set forth to study abroad until the closure of world war ii, and settled in Europe and the states later on.The circumstances were quite different for second half of the twentieth century. Despite the disadvantages of socialist realism in mainland china—less emphasis on developing students’ artistic perceptivity , which results in the rigidity of skill trainings and creative forms. However, socialist realism’s systematic basic training is quite practical, and helps students to become familiar with former knowledge and experience with efficiency. After the 70’ s, owing to Chinese reformation and Taiwanese emancipation, artists from china and 室內設計Taiwan progressively possessed more freedom to self re-exame, ponder and criticize, and hence, Chinese contemporary arts revealed more boundless and versatile forms of art.The development of Chinese contemporary art mirrored the diversity of the transformation in Chinese modern culture; particularly after the 90’ s, such diversity not only presented the immense breakthrough against traditional Chinese paintings approaches and styles, but also presented the rounded, profound multi-dimensions of oriental cultures, history and social reality by means of conceptionism. Such cultural self-realization held by Chinese artists at this stage not only nourished and advanced the painting history of our own, but also imparted new concepts into entire art arena. Now, despite the geographical, background, and artistic style differences, contemporary Chinese artists all over the world have philosophically approached to the ideology of neo-humanism, for what they’ve achieved all these years had become 汽車借款precious resource of contemporary Chinese culture. There are briefly six stages in the development of Taiwan ’s contemporary art as followings :(1) Japanese occupation and its influence ( 1920’ s -1940’ s)Techniques and concepts of impressionism and fauvism from the west were introduced to manifest the enjoyment of local Taiwan activities. Different from original Chinese water ink painting, it suited people’s needs both in form and in content---local identity under colonial ruling. The representative artists in this stage are Liao Chih Chun, Hon Jui Ling, Lee May Shu, Lee Shih Chao, Yang San Lan, etc.(2) Rising of modernism after Taiwan retrocession (1950s-1960s)In the desperate conditions of politics, economy and military, American culture started landing in Taiwan after Japan lost the war. Modernism symbolized by abstract art provoked a batter between tradition and modernism in Taiwan . Re-demonstration of nature turned into the pursuit of pure art; sensitive perception moved to 591the research level. Groups included “May “, “ East”, “ Era”, “ Outside the frame”….etc. Artistsincluded Lee Chon Shen, Wu Hao, Hsia Yang, Lee Shih Chih, Hsiao Chin, Liu Kuo Son, Chuan Cheh, etc.(3) The 1970s---Returning to LocalismEvents such as “ U. S. financial support stopped “, “ Taiwan withdrew from the United Nations “, aroused the nationalism in intellectuals. In addition to questioning the old “ western viewpoint “, they related to the native hometown which bred them, and embraced “ conscious of localism”, At this point, “ super-realism “ from the west also helped complete the realistic techniques of localism. Artists included Ku Chon Kuan, Hsieh Hiao Te, Hsu Kuan Chen…etc.(4) Self-Identification and Individual aesthetic exploration instead of a sacrifice of Utopian idealismIn the 1980s, Taiwan declared martial law ended, politics was opened up, economy grew, international information was abundant, museums of the north, the central and the south started to 銀行利率establish, and cultural exchange increased. At the same time, considerable artists studying overseas came back to Taiwan . The concept went from previously lofty ideas to practical aspects, returning to self-identification, instead of a sacrifice of Utopian idealism. Artists included Lin Wen Chian, Yang Mao Lin, Lu Tien Yen …of New painting, and Lin sho Yu, Chuan Pu, Lai Chun Chun…of Minimalism.(5) Multi-presentation and co-existenceIn the 1990s, a reflection of world trend appeared in Taiwan art field---installation art, performance, new pop art, new object and new concept prevailed. Diversity, multi-presentation, co-existence and merger are all topics for research. Homogeneous and heterogeneous mixed space is rich in expectations. In the past one hundred years, Taiwan cultural ecology was interfered due to political factors. It confused people separated apart in their cultural identification. It is natural consequence that the presentation of Taiwan ’s contemporary art appear to 票貼diversify. (6) Heterogeneity and trans-orientation in new centuryIncreasing electronic data storage, both artistic creation and art history research will open a more individual and lively space for interpretations. The aesthetics of trans-orientation in new century Taiwan is not a restricted ethnical concept of opposition between the east and the west, but to tolerate various aesthetic ideas. Heterogeneity will be implemented with a sharing attitude. The “ Grand style “ is gone with the diminishing of western cultural hegemony. Today is just a time of cross-breed, cross-media, and cross-discipline. Such modern neo-humanism that amalgamates the east and west is comprised of ambiguous and marginal oriental attribute, by which these artists instill their works intensely with oriental obsession and Zen. Judging from the works of the 23 Taiwanese contemporary artists participating in the 19th Asia International Art Exhibition at Fukuoka Japan 2004, such as Shu Hsiu Hsu’s Illusionary 西裝外套Landscape, Quan Pui Lee’s North City, Shi Chi Lee’s Re-orientation-10, Chung Tsang Chen’s Un-disclosed, Chung Kuang Koo’s Flying Buddha from Kizil, Yung Sung Huang’s Keeping Peaceful, Jenny Chen’s Representation of Phenomenon, Yang Jer Liu’s Two Dragons Face to the Sun, Pedro Tseng’s Aesthetics of the Margin, Yao Huang Chang’s Figure, Rue Teresa Hsu’s Position, Chin Ta Yuan’s Gambling set of Politics, Xian Zhong Liu’s Betel Nut’s Pulp is White, Christian Wu’s Drama of Life, Hon Tah Hsieh’s Abstraction, Ming Dye Yang’s Water Clothes No.3, The Lin’s Flowery, Li Hung Pan’s Hold the Ring II, Hsien Ming Lu’s Another Grandma, Ming Fong Hsu’s Landscape No. 2, Chin Piao Lin’s Historical Glory, Fu Chuan Lin’s Fantasy and Tsung Jen Lee’s the Reflection. It is clear that all works of these artists are in the style of Trans-Orientalism with Neo-Humanist tendencies in content and spirit. (曾長生)

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