Born in 1921 in Sanjiao Village, Shengang Town, Taichung County; Served for Taiwan News Agency in Taichung City at the age of 14; Worked as photojournalist three years later and became the first photojournalist in Taiwan. Later, worked as the head of the production and photography department of the News Agency. In 1945, created Hsing Tai film office which committed to the study of color slide development and color separation plate technology. In 1952, the office was renamed as Hsing Tai Plate Making and Printing Factory. In 1957, he served as the executive director at Taiwan Association of Plate Making, built new factory in Taichung, and completed color separation and full picture plate printing technology in two years. In 1962, reconstituted Hsing Tai Plate Making and Printing Factory into Hsing Tai Color Printing Co., Ltd. He kept working to create pictures and develop films in light room till his death in February, 1967. As the founder of Hsing Tai Color Printing, Mr. Chen, Geng-Bin committed to the art of photography. Many of his early works have won the first prize in domestic and foreign photography competitions and he himself has been elected as one of Taiwan's top three photographers. He was also conferred the title of No. 80 photographer (the first person in our province) who was invited into the Governor-General of Taiwan. After Taiwan was liberated, Mr. Chen, Geng-Bin also served as a photojournalist at Minsheng Daily and initiated a relief plate-making factory to serve the community. After that, he succeeded in the research of color separation printing technology, blazed a trial in color printing business in Taichung.

Kuo Hsueh-Hu, former name Kuo Chin-huo, was born in 1908 in Dadaocheng, Taipei. The Danshui riverside scene later became the source of his creation. At the age of 16, he stepped on his way to become an artist by learning painting at "Snow Creek Art Gallery". In 1927, his paintings were selected as exhibits by the first “Taiwan Art Exhibition" during the time when Taiwan was governed by Japan along with works by painters of Lin Yushan and Chen Jin. The three of them created the name of "Three Teenagers at Taiwan Exhibition". The painting of “Scenery near Yuanshan”, one of his works specifically selected by the second "Taiwan Art Exhibition", was the one that made him famous and later became the paradigm of paintings of Hsueh-Hu Studio school. The “Festival on South Street” was the exhibit at the fourth "Taiwan Art Exhibition”. It used red, blue, and yellow colors, which demonstrate very local cultural characteristics, to picture a hustle and bustle festival scene of gate area of Xiahai Chenghuang Temple at Dihua street in Dadaocheng, presenting the vitality of Taiwan's cultural diversity. In addition, in the creation of glue-pigment painting, Kuo Hsueh-Hu fused concept of traditional Chinese brush painting with Japanese painting, bringing the traditional genre of glue-pigment painting to a broader and more diverse realm while promoting activities of rectification of name of glue-pigment painting and its modernization. He was the forerunner and key driving force of Taiwan's glue-pigment painting. Mr. Kuo Hsueh-Hu joined Japanese Painting Society in his early ages and later, together with his friends, established "Six Sages”, a painting group that incorporate Japanese painting skill with western, and initiated “Hsueh-Hu Studio” in Taiwan, to study art, hold exhibitions and lectures, and support juniors. In the early days of liberation of Taiwan, Mr. Kuo Hsueh-Hu organized the “Whole Taiwan Province Art Exhibition” together with others including Yang San Lang. He was an early contributor to government-run art exhibition and literally participated in administration and examination affairs of the traditional Chinese painting department for more than 20 years, contributing greatly to the heritage and development of Taiwan's fine arts culture. Mr. Kuo Hsueh-Hu was regarded as the first senior artist who brought Taiwan local folk customs into his creation of arts and was representative artist who used painting to express his feeling to his nation. His works have a strong local characteristics and emit a full-bodied cultural sense of Taiwan. Mr. Hsieh, Li-fa, who wrote the history of Taiwan's art movement, said, "Kuo Hsueh-Hu's creation is derived from his real experience in Taiwan and, in the development of Taiwan's modern art, he is the first person who paints out the spirit of Taiwan ."

Currently hold the post of professor and director of Art Museum of Chienkuo Technology University, and visiting professor at Peking University and Huazhong University of Science and Technology. Hsu Wen-Jung tries to develop senses of beauty from different media and imagining conception of eastern aesthetics by attempting to use composite painting media, taking it as a way of ideological exploration and of conveying unique aesthetic view of artists. This method stems from western creative techniques. Professor Xu fused his Oriental thinking with western painting media to develop a unique style of himself.

Born in 1933 in Wanxian County, Sichuan Province (now Wanzhou District, Chongqing City), he was a preparatory committee member and exhibit judge of Taiwan Provincial Art Museum. In 2001, he was elected as an outstanding senior artist in Taichung City. Now, as a professional painter who has engaged in painting creation for more than 40 years, he painted not only oil paintings, but also water color paintings. In his early age, he loved to paint mountain cities, ancient houses, and boat, and in the mid-term, he mainly used landscape and fishing harbor as subject of his paintings. Recently, he favors using purple color to paint Taiwan local features such as lotus, flowers, figures, and landscape. In recent years, he adopted a technique of Chinese ink-painting with which he combined dry oil paint and diluted pigment for splashing to present a dripping, free, exaggerating, and transparent feature. Chen Ming-san observes the nature with philosophical idea and concept. His oil paintings contain a transcendent, lonely and self-driven feelings towards life and show a strong unique flavor of oriental ink painting. With this unique technique of integrating oil painting and watercolor, he blazed a trail that belongs to himself.

Born in 1942 in Annan District of Tainan City, he traveled to Korea and Japan for realistic painted in 1980. Later he painted four large murals of "Blessing from Goddess to Give Water", "Burning Confucian Clothing at Confucius Temple", "The Eight Immortals Party", and "Yang Jian Fighting with Wenliang" for the Goddess Temple in Luermen, Tainan City. In 1984, he founded Dachong calligraphy and painting association and acted as its first president. In the year followed, he completed a great work of “A Spirit That Can Conquer Mountains and Rivers” after finishing painting of “The 108 Hero and Heroine of the Water Margin”. In 1987, he founded Wang Shuang kuan Chinese Painting Gallery of Buddha and painted the picture of “Longevity Like Pine and Crane”. From 1997 to 2000, he acted as lantern review director at Cixing lecture hall in Wuqi town. Wang Shuangguang engaged in professional elaborate-style painting for more than 50 years in his life. Started from oil painting in the fifties, he has been through many transformations. He tried to sculpt and write his ideas out with oil pigment but with Chinese painting techniques. At the end, he laid his foundation on realistic painting with elaborate brush strokes. Wang Shuangguang deems that not everyone can draw portrait of Guanyin Buddha. It depends on luck and cultivation of the individual and you have to have inner peace when you paint, thus, each painting you painted will demonstrate the merits of truth, kindness, and beauty. Take elaborate-style painting as an example, true means the painting looks vividly with every petal and leave of a flower looks like real. And kindness means the work is developed with a kind heart, which conveys a goodwill and removes evil ideas from the mind of those who appreciates the painting. Thus, it holds people back from wrong conducts. Beauty means the beauty of the art work itself. If all you have seen are good and beautiful, gradually you will have a beautiful heart.