Initiated and Writing－Contemporary Taiwan Eastern – Gouache Painting.

Exhibition by Chan Chien-Yu, Lee Chen-Hui and Kao Yung-Lung

Exhibition Organizer: Kao Yung-Lung

The development of Gouache Painting in Taiwan after transferred from Japan can be divided into several stages: Initial Stage (1895～1923), Taiwan Governor Art Exhibition (1924～1945), Taiwan Art Exhibition (1946～1972), Name Rectification Stage (1972～1985) and Academic Stage (1985～ ). During the Taiwan Governor Art Exhibition, it is the splendid golden age for Gouache Painting, and encountered the dispute of “Legitimate Chinese Painting” during the Taiwan Art Exhibition stage, it had declined down until the campaign of Name Rectification emerged after the abolition of martial law. In addition, Taiwan had entered the Democracy Stage, thus it could be taught and re-developed in academic education systems. Historical traces of Gouache Painting exactly reflect to the changes in Taiwan’s culture and politics.

From early Japanese Official Art Exhibition styles with pursuing local characteristics to greatly intake the performance techniques of Western Painting, as well as blended with water-ink panting’s styles, the development of Gouache Painting style had influenced by different cultures and painting styles to show a mixing and fusion style, and it has become one of painting styles for presenting Taiwan’s diversified cultural characteristics.

During several decades since 1960s, Gouache Painting has been in the enclosed and private school system, self-heritage, fossilized and standardized performance styles for a long time, which is difficult to cope with new artistic thoughts. Until 1990’s, Taiwan’s Gouache Painting started having a new transition pattern, and its change has come from the Gouache creation in academic education systems and new painters’ involvement, which broke the enclosed and conservative Gouache heritage, and used modern thought to create the new styles for Gouache. According to their efforts, Gouache Painting has rapidly and splendidly developed in recent years. In many and frequent official activities and exhibitions, the Gouache Painting has become a complete and independent section, as well as become a painting style, together with the water-ink painting, of representing oriental painting.

This exhibition invited 3 Gouache painters who initiated Taiwan’s Gouache Painting restoration:

Chan Chien-Yu (1952～), who has been addressed respectfully as “Postwar Taiwan’s Godfather of Gouache Painting Education”, and could be considered as the major driving force of Gouache Painting Renaissance. His artworks are mainly the silk scroll, and on the basis of Fine-Brushwork Ink Painting and blended with Gouache material techniques to create an innovative pattern. His delicate and elegant art styles have become a paragon of Taiwan’s Gouache Painting. 

Lee Chen-Hui (1961～): Inspired by Lin Chi-Chu when he studied in Tunghai University, and went to University of Tsukuba, Japan, after her graduation, who was one of those first batch students studying in Japan after the 50-year stoppage since the Japanese Occupation. She brought those performance techniques of the contemporary Japanese painting and initiated the technique revolution of Taiwan’s Gouache Painting.  Her artworks are in the combination of metal foils, ink colors and rock colors to present the transition of reality and imagery and life embracing. In addition, her ecriture feminine characteristics has continuously influence the tendency and direction of the contemporary Gouache Painting.

Kao Yung-Lung (1962～): In his early stage he was well-known with the Ink-and-Water Painting in the painting world, and later he changed to make Gouache creation, and researched on the making of ancient heavy-color painting materials and performance technique in Tibet, Xinjiang, Japan and Europe. With the creation concept of making innovating out of ancient arts, his artworks with rich texture and complicated techniques had beyond general Gouache patterns, as well as added his broaden and experienced visions, thus his artworks all have tremendous momentum. He is a unique painter in Taiwan’s Gouache Painters.

Gouache Painting has limited to the operating property of medium and tool for a long time, thus it is difficult to be popularized. However, the boundary of current Taiwan’s Gouache Painting has continuously expanded, penetrated and influenced on various fields. Restoration of Taiwan’s Gouache Painting represents a cultural awareness, these 3 masters, Chan Chien-Yu, Lee Chen-Hui and Kao Yung-Lung, had put great efforts in Gouache Education, and initiated a new era of Taiwan’s Gouache Painting. Their artwork styles had not only led the tendency and direction of contemporary Gouache Painting, but also showed the Gouache Painting to be one of the restored painting styles in 21st century. More nobly reflection and vision, on the basis of diversified integration, they used new innovation thoughts to perform the real self’s cultural spirit.