Pieces of Time
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.
Chen, Yen-Feng (1949-2001), Born in Taichung City. Chen, Yen-Feng (1949-2001) was one of the 4 boys raised by the founder of Hsing Tai Color Printing Co. Ltd. - Chen, Keng-Pin (one of the Taiwanese photographers in the early days). In high school, Chen, Yen-Feng followed Li, Chung-Sheng to learn sketching (drawing) and the modern painting theories. In 1975, Chen, Yen-Feng went to France to study renaissance as well as modern and Chinese arts. In 1980, for the first time, Chen, Yen-Feng found more than 800 watercolor sketches that were completed in the 1930s were left by Sanyu in the leather case. As an important figure/curator in the Chinese and French Art Circles, Chen, Yen-Feng often travels between Taiwan and Paris. The themes of exhibitions he has hosted in Taipei, Taichung, and Kaohsiung include "Landscape, Human Body, Metamorphosis - Contemporary French Figurative Painter", "French Printmaking since the 17th Century", "Watercolor prints by French printmaker Assadour", "China·Paris", etc. He is also the author of "A Brief History of Ukiyo-e Woodcuts (Woodblock Prints) in Japan" and "Selected Works of Chinese Artists (1) - Sanyu". In 1995, he co-organized the “Retrospective Exhibition on Sanyu’s Works” for the National Museum of History. In 2001, Chen, Yen-Feng died of nasopharyngeal carcinoma (NPC).
Cultural pioneer with Deep Feelings to Homeland
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 ."
Express culture and philosophy through paintings
Born in 1938 in Houguan County, Fujian Province, his original name is Jinxiang. Yizi is an art name given by Yang Yuan, which he used as his signature on many of his works afterwards. As a student, he has learned from several masters sunch as Pu Hsin-Yu, Peng Chuen-Shi, and Lyu Fo-Ting, and practiced his painting at Taipei’s National Palace Museum. He focused on figure paintings and started from styles of Tang Dynasty, the Five Dynasties, and the Song Dynasty, and then painted landscape, flowers and birds etc. Later he also learned after Li Xuelu, a great master from Jinan, to study classic books, history, and poems, as well as Buddhism, which laid foundation for his moral spirit and art achievements in the future. In 1959, painted "Paradise in the West” and “Ninefold Next Life” for the cover of a Buddhist book, “Bodhi Tree”; In 1962, facsimiled 20 Dunhuang frescoes and painted “Eight Phases of Sykaya Buddhahood” for Fo Kwang Mountain in Kaohsiung; In 1968, withdrew from society and focused on calligraphy and painting, learning poem and Buddhist doctrine attentively from the lay Buddhist, Mr. Li Xuelu, and owned a study house named “Shui Yue Jing”; In 1993, finished 45 paintings of “Confucius' Performance and His Ten Sage Students” by fine brushwork and achieved attentions from domestic and overseas cultural circles. Mr. Jiang engaged in painting for more than 50 years and diligently focused on his creation of works. He always adhered to traditional concept and this concept often expressed through his paintings of which many carry the spirit of Confucius’ ethic of filial piety, loyalty and trust, as well as the Buddhism concept of karma and the idea of “people are my brothers and all things are my kind”. His efforts not only caused a broad response, but also carried out Confucius’ teaching: the spirit of "set loft ideas on truth, conduct on morality, be kind to people, and play in the art and knowledge”
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.
Human nature and love
Born in 1954 in Hunan Province, China, Li Zijian started to learn painting from Mr. Chen Xichuan at his age of 15. In 1986, he became a member of the Chinese Artists Association and went to the United States for further advancement. Li Zijian set a target for his work, which is "Do not be the feast for eyes only. Go deep and be impressive". In his more than 40 years of artistic career, he upheld an attitude of realism towards his creation of work and advocated the concept of “art for life”. With a strong sense of historical responsibility and cultural mission, he created a lot of vivid and active artistic image, demonstrating the beauty of human nature in his works. The year of 1991 was the most important year of Mr. Li Zijian's artistic career. Taiwan's eminent monk, Master Xingyun, was deeply moved by the brimming benevolence and kindness expressed by the pictures after viewing Li Zijian's paintings. So the Master asked Li Zijian to create 100 paintings that themed to promote universal brotherhood of humanity. After that, under the full support of Master Xingyun, Li Zijian began to assemble his collected paintings and hold exhibition tour of “Human Nature and Love” in five continents since 1993.
Seek image from emotion and put emotion into image. Follow the heart, express the feeling through the brush.
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.
Nostalgia - Using the beauty of oriental feelings and particularity of times to Show the harmonious relationship
Born in 1942 in Changhua City, Taiwan, and start to learn glue-pigment painting in 1959. Engaged in creation of glue-pigment painting for more than 50 years and learned from Professor Lin, Chih-Chu, the father of Taiwan glue-pigment painting, and was inspired and deeply influenced by the Professor. Besides creation, he also became a key assistant of Professor Lin to promote glue-pigment paintings. To facilitate steady development of glue-pigment painting in Taiwan, he participated in establshing Taiwan Glue-pigment Painting Association. In 1981, he established Taiwan Glue-pigment Painting Association that initiated by Lin Yu-shan, Chen Jin, and Lin, Chih-Chu and acted as a liaison and secretary general of the association. Every year, the association will hold joint exhibition to promote glue-pigment painting and enhance the creative population. Zeng, De-Biao combined traditional techniques of ancient Chinese using glue to paint colorful painting, such as golden-green-landscape painting of Tang Dynasty and royal court painting style of Song Dynasty, with modern artistic thoughts to present spirit of eastern and particularity of the time. In his early time, he used earthy yellow with coffee brown in his glue-pigment paintings, which brought a strong soil vision to the painting. Now he's good at using blue and green to control the picture, interpreting a harmonious relationship between man and the nature though calm, elegant, and quite images with peaceful and pleasing idyllic scenery and poetic pulse of nature expressed by flowers and birds.
Yiru Lay Buddhist - Blending imagination with art creation, put true feeling from your heart into realistic painting
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.
Aesthetic freehand brushwork (in traditional Chinese painting)
Born in 1943 in Taichung City, learning the art of photography from his father, Mr. Chen, Geng-Bin, No. 8 photographer who was invited into the Governor-General of Taiwan, and good at landscape and freehand-brushwork-style photography. In 1967, he went to Japan and studied technique of manually fixing color for color plate at Daito Color Printing Company. After back from Japan, he acted as the deputy general manager of Hsing Tai Color Printing Co., Ltd. From 1976 till now, he acted as publisher and writer of the Printer magazine. Since 1990, he has took further in-depth study of digital image processing, color management and image reproduction skills. Under his management, Hsing Tai Color Printing Company becomes the leader in color and image management industry. Furthermore, the color table developed by Hsing Tai Color Printing Company also becomes the criteria of color correction in printing industry. He serves as executive director of Taiwan Printing and Machine Industry Association, general manager of Hsing Tai Color Printing Co., Ltd., visiting professor of the Department of Graphics of National Taiwan University of Arts, and chairman of Printing Industry Technology Research Center till now. Mr. Chen, Zheng-Xiong adopts freehand brushwork technology from traditional Chinese painting into photography to record landscapes around the world. Since 1967, he has started to publish calendar with colorful landscape pictures of Taiwan and has never stopped. His footprint is everywhere in Taiwan. With the calendar of Taiwan images, Mr. Chen, Zheng-Xiong documented evolution of Taiwan cultural and custom over decades.