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The Journey through Jiangnan: A Pivotal Moment in Chen Cheng-po’s Artistic Quest exhibition was held at the Taipei Fine Arts Museum from February 18th through May 13th, while the Under a Searing Sun: A Solo Exhibition by Chen Cheng-po was held from March 28th through June 16th at the Taiwan Soka Association’s Chih-Shan Art and Culture Center.\n These two exhibitions held in Taipei were preceded by the major Chen Cheng-po retrospective held from October 22, 2011 through February 28, 2012 at the Kaohsiung Museum of Fine Arts. In the Kaohsiung catalogue, museum director Pei-ni Beatrice Hsieh’s text, “Touring Exhibitions Letting Taiwan’s People View the Master’s Artistic Accomplishment,” clarified the process leading to the exhibitions. According to Hsieh, in 1994, the centenary of Chen’s birth, two exhibitions were held at the Chiayi City Cultural Center and the Taipei Fine Arts Museum to commemorate the 1994 centenary of the artist’s birth. These exhibitions made Chen’s name more widely known. From that renown, in 2011 a musical on Chen Cheng-po was created through the cooperation of the Chen Cheng-po Cultural Foundation and central and local governments, and toured Taiwan as part of the events to commemorate the centenary of the founding of the Chinese Republic. Next, the Chen Cheng-po Cultural Foundation and the Kaohsiung Museum of Fine Arts collaborated on the Nostalgia in the Vast Universe: Commemorative Exhibition of Chen Cheng-po (October 22, 2011 – February 28, 2012). Then, the Under the Searing Sun exhibition was held in Taipei, continuing in general the content of the Nostalgia exhibition.\n During the same period the Taipei Fine Arts Museum organized its Journey through Jiangnan exhibition, focusing on Chen’s time on the Chinese mainland. Chen was born in 1895 in Chiayi, close to Mt. Ali in central Taiwan. He first came into contact with Western-style painting methods in Taipei and studied at the Tokyo Fine Arts School from 1924 to 1929. He then took a teaching position in Shanghai, returning to Chiayi in 1933 where he continued to paint until his death in 1947.\n It has long been held that changes occur in an artist’s oeuvre as he or she moves between different cultural spheres, and this can also be said for Chen. By viewing both the Journey through Jiangnan and the Under the Searing Sun exhibitions, viewers were able to compare his different experiences and gain a better understanding of this painter’s work from new vantage points.\n The Under the Searing Sun exhibition, following on the concept of the Nostalgia in the Vast Universe exhibition, reviewed Chen’s oeuvre in five sections: Self-Portrait of the Artist; Where the Heart Belongs: The Scenery of Chiayi; Homeland Forever: Formosa; Academic Tradition: Studio Training; and Varied Strokes: Mixture of East and West. The exhibition focused on works created in Taiwan, but also included some examples from his study years in Tokyo and his time in Shanghai.\n The Under the Searing Sun exhibition was held across three floors of galleries, and thus Pai Shih-Ming (National Taiwan Normal University) organized the exhibition into three sections: Love of Land; Love of Culture; and Memorabilia. Love of Land featured landscape paintings, Love of Culture presented figure paintings, still-lifes, animalglue medium paintings and watercolors, while Memorabilia introduced the material documents related to Chen, such as letters, photographs, items he used, magazines he owned and picture postcards.\n The Under the Searing Sun exhibition impressed the viewer with the differences in Chen’s works between those from his study years in Tokyo and those painted in Taiwan. While in Tokyo, Chen enjoyed painting architecture, such as museums and the Nijubashi Bridge, clearly interested in the scenes that reflected modernization and urbanization. The painting circles in Japan at the time were painting “official exhibition-style” paintings based in a moderate form of realism infused with an impressionistic light expression, while the many exhibitions held by private art organizations featured numerous works inspired by Post-Impressionism. Chen’s style falls into the latter category, with vividly colored pigments applied relatively heavily, with the artist’s rough brushwork remaining visible on the canvas. While the current whereabouts of his first entry into the Teiten are not known, his second work accepted for the official exhibition, Street Scene on a Summer Day (1927), reveals his early period style established during his studies in Tokyo. Even though his imagery is taken from an actual scene, he does not present the scene as is, rather arranging the composition and figural placement and also paying attention to what the figures are wearing and holding. While the ground plane color fields were relatively smoothly finished, he used rhythmical strokes in the trees and other elements, and various brushstroke-induced matière effects enliven the painting overall. Chen honed his techniques during his time in Tokyo and created the basis for his approach to painting. \n The works created after his return to Taiwan from his time on the Chinese mainland reveal Chen focusing his intimate gaze on nature and the lives of people, as he utilized the formal traditions of the continent and the modern Western-style painting techniques and manner of looking at things learned in Japan to develop a uniquely Taiwanese form of modern painting. His inclusion of motifs such as electric poles and smokestacks amidst the Taiwanese natural landscape burgeoning with life force stand as symbols of modernization and mechanization, thus revealing a painter’s gaze viewing actual signs of his time period amidst the landscape before his eyes. In Chen’s The View of Tamsui, a theme he returned to time and again, he focused on the red architecture that speaks of the history of Dutch rule, and town scenes with rows of traditional Taiwanese houses, imagery unlike that found in the works of other Taiwanese painters of the day who liked to paint seaside views that weave inlets with images of Mt. Guanyin. His works reveal a rich color palette and matière—brown and red buildings, with relatively smoothly painted walls and straight-lined tile roofs, intermingled with green trees rendered in curving brushstrokes. Chen’s View of Tamsui paintings can be seen as symbolizing the history of Taiwan with its absorption of several different foreign cultures.\n The Under the Searing Sun exhibition was an attempt at tracing the changes in Chen’s oeuvre on a motif-by-motif basis, from early period to final years. In addition to such well known works as Wenling Marzu Temple (1927), Middle of the Street in Chiayi (1934), Gazing at Jade Mountain from Ali Mountain (1935), View of Tamsui (1935) and Early Autumn (1942), this exhibition provided a comprehensive display including the debut appearance of early period watercolors. The exhibition was further enhanced by the presentation of materials related to Chen’s life and work, such as the art books magazines and picture postcards he collected, plus photographs and letters. The exhibited items are only one fraction of the extant materials related to Chen, but their inclusion reveals the organizers’ intention to show the background to his paintings—what he saw, what he thought about, who he interacted with.\n The Journey through Jiangnan exhibition held at the Taipei Fine Arts Museum was planned by Lin Yu-Chun, a curator at the museum who has conducted a succession of surveys on modern Taiwanese art and written books about Chen. The exhibition’s organization into six sections: 1) Oriental Landscape; 2) Wartime Jiangnan Cities; 3) From Eye-level Perspective to Aerial Looking Panorama; 4) Academic Sketches to Lyrical Nudes; 5) Records of Life and Family Portraits; and 6) Interaction with Shanghai Art Circle, provided an easily understood reflection of the characteristics of Chen’s Shanghai period painting style. Section 1) presented landscape works depicting places like Taihu Lake and West Lake that have been revered since antiquity for their scenic beauty, while section 2) presented a group of works on urban themes, such as Shanghai. Althought the natural scenery displayed in section 1) was rendered in longer, flowing ink painting-like brushstrokes, conversely, Chen frequently used dark, almost black outlines in his urban scenes displayed in section 2). As clarified by the materials displayed in section 6), Chen mingled with the mainland painters in Shanghai and had many opportunities to see Chinese paintings from the Song, Yuan and Ming dynasties. Later Chen summed up his experiences, “On the continent I understood the importance of fusing Ni Zan, Badashanren, Renoir and van Gogh.”\n Section 3) introduced a large number of bird’s eyeview compositions that represent Chen’s movement in the 1930s away from the Western perspectival methods seen in the Taipei Fine Art Museum’s works that he created during his study years in Tokyo in the 1920s. For Chen, his time as an art teacher in Shanghai was a period in which he could put into practice his systematic painting education. It is fascinating to note that a great number of watercolor sketches of female nudes remain from this period. Simplified forms captured in outline, and a single brush of flesh tone on the skin and green in the background. While there have been no oil paintings introduced that directly reflect these nimbly drawn sketches, Chen can be thought to have had some aim for them other than simple basic practice. Since the depiction of the female nude is deeply linked to the reception of Western academism, the introduction of these works is meaningful.\n Section 5) displayed portraits of the artist’s family, such as My Family (1931). With his family together under one roof again for the first time since he left for his studies in Tokyo in 1924, the Shanghai period was a time of increased family interaction. While Chen is highly regarded for his landscape paintings, this section revealed how in Shanghai he put more effort into his study of figural expression, including the female nude.\n The essay in the catalogue by Chiu Han-ni, “Reappraising Chen Cheng-po’s ‘Shanghai Period’,“ indicates that by 1927, when he was studying in Tokyo, Chen had made plans to “travel to the Chinese mainland in search of painting subject matter.” Lin Yu-chun’s essay indicates that for a person like Chen, born in Taiwan in 1895 when the island had already come under Japanese political control, China was seen as more culturally advanced and further, that a longing for the Peach Blossom Spring utopia lies at the root of Chen’s oeuvre. While brief, Chen’s Shanghai interlude was closely related to his later oeuvre.\n The two exhibitions, Under the Searing Sun and Journey through Jiangnan, were mutually complementary introductions to the oeuvre of a single mind. While Chen was born in Taiwan and spent the majority of his life there, China was the land of his ancestors. Up until 1945 he considered Japan his birth land, his mother country, and the land of his citizenship; after 1945 he considered China to have assumed those roles. The fascinating question remains, where does such a person seek his own identity when he is painting, facing his own expression. As if tracing the shift between his painting locales, viewers had to change location to view these two exhibitions, and thus were provided with an important opportunity for comparison and visual appreciation.\n From the latter half of the 1910s Japan saw a growing interest in “East Asia,” and it was a time of increased human and material interaction and exchange. Many Japanese painters traveled to China, including to Shanghai. Even though geographically the same place, for each person the place held different meanings, provided opportunities for encountering different things. 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展覧会評 台北市で開催されたふたつの陳登波展―台北市立美術館「行過江南―陳登波芸術探索歴程」展と至善芸文センター「豔陽下的陳登波」展―
https://tobunken.repo.nii.ac.jp/records/6050
https://tobunken.repo.nii.ac.jp/records/6050f7196321-1a39-45e0-96ab-66cfe2d15acb
名前 / ファイル | ライセンス | アクション |
---|---|---|
409_32_Yamanashi_Redacted.pdf (752.6 kB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 展覧会評 台北市で開催されたふたつの陳登波展―台北市立美術館「行過江南―陳登波芸術探索歴程」展と至善芸文センター「豔陽下的陳登波」展― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Exhibition Review: Two Exhibitions of Chen Cheng-po in Taipei: Journey through Jiangnan - A Pivotal Moment in Chen Cheng-po’s Artistic Quest (Taipei Fine Arts Museum), and Under a Searing Sun - A Solo Exhibition by Chen Cheng-po (Taiwan Soka Association’s Chih-shan Art and Culture Center) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | [台湾洋画・東京芸術大学留学] | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
著者 |
山梨, 絵美子
× 山梨, 絵美子× Yamanashi, Emiko |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Two exhibitions were held in Taipei in 2012 that introduced the oeuvre of Chen Cheng-po (1895–1947), one of the important first generation of Taiwan’s Western-style painters. The Journey through Jiangnan: A Pivotal Moment in Chen Cheng-po’s Artistic Quest exhibition was held at the Taipei Fine Arts Museum from February 18th through May 13th, while the Under a Searing Sun: A Solo Exhibition by Chen Cheng-po was held from March 28th through June 16th at the Taiwan Soka Association’s Chih-Shan Art and Culture Center. These two exhibitions held in Taipei were preceded by the major Chen Cheng-po retrospective held from October 22, 2011 through February 28, 2012 at the Kaohsiung Museum of Fine Arts. In the Kaohsiung catalogue, museum director Pei-ni Beatrice Hsieh’s text, “Touring Exhibitions Letting Taiwan’s People View the Master’s Artistic Accomplishment,” clarified the process leading to the exhibitions. According to Hsieh, in 1994, the centenary of Chen’s birth, two exhibitions were held at the Chiayi City Cultural Center and the Taipei Fine Arts Museum to commemorate the 1994 centenary of the artist’s birth. These exhibitions made Chen’s name more widely known. From that renown, in 2011 a musical on Chen Cheng-po was created through the cooperation of the Chen Cheng-po Cultural Foundation and central and local governments, and toured Taiwan as part of the events to commemorate the centenary of the founding of the Chinese Republic. Next, the Chen Cheng-po Cultural Foundation and the Kaohsiung Museum of Fine Arts collaborated on the Nostalgia in the Vast Universe: Commemorative Exhibition of Chen Cheng-po (October 22, 2011 – February 28, 2012). Then, the Under the Searing Sun exhibition was held in Taipei, continuing in general the content of the Nostalgia exhibition. During the same period the Taipei Fine Arts Museum organized its Journey through Jiangnan exhibition, focusing on Chen’s time on the Chinese mainland. Chen was born in 1895 in Chiayi, close to Mt. Ali in central Taiwan. He first came into contact with Western-style painting methods in Taipei and studied at the Tokyo Fine Arts School from 1924 to 1929. He then took a teaching position in Shanghai, returning to Chiayi in 1933 where he continued to paint until his death in 1947. It has long been held that changes occur in an artist’s oeuvre as he or she moves between different cultural spheres, and this can also be said for Chen. By viewing both the Journey through Jiangnan and the Under the Searing Sun exhibitions, viewers were able to compare his different experiences and gain a better understanding of this painter’s work from new vantage points. The Under the Searing Sun exhibition, following on the concept of the Nostalgia in the Vast Universe exhibition, reviewed Chen’s oeuvre in five sections: Self-Portrait of the Artist; Where the Heart Belongs: The Scenery of Chiayi; Homeland Forever: Formosa; Academic Tradition: Studio Training; and Varied Strokes: Mixture of East and West. The exhibition focused on works created in Taiwan, but also included some examples from his study years in Tokyo and his time in Shanghai. The Under the Searing Sun exhibition was held across three floors of galleries, and thus Pai Shih-Ming (National Taiwan Normal University) organized the exhibition into three sections: Love of Land; Love of Culture; and Memorabilia. Love of Land featured landscape paintings, Love of Culture presented figure paintings, still-lifes, animalglue medium paintings and watercolors, while Memorabilia introduced the material documents related to Chen, such as letters, photographs, items he used, magazines he owned and picture postcards. The Under the Searing Sun exhibition impressed the viewer with the differences in Chen’s works between those from his study years in Tokyo and those painted in Taiwan. While in Tokyo, Chen enjoyed painting architecture, such as museums and the Nijubashi Bridge, clearly interested in the scenes that reflected modernization and urbanization. The painting circles in Japan at the time were painting “official exhibition-style” paintings based in a moderate form of realism infused with an impressionistic light expression, while the many exhibitions held by private art organizations featured numerous works inspired by Post-Impressionism. Chen’s style falls into the latter category, with vividly colored pigments applied relatively heavily, with the artist’s rough brushwork remaining visible on the canvas. While the current whereabouts of his first entry into the Teiten are not known, his second work accepted for the official exhibition, Street Scene on a Summer Day (1927), reveals his early period style established during his studies in Tokyo. Even though his imagery is taken from an actual scene, he does not present the scene as is, rather arranging the composition and figural placement and also paying attention to what the figures are wearing and holding. While the ground plane color fields were relatively smoothly finished, he used rhythmical strokes in the trees and other elements, and various brushstroke-induced matière effects enliven the painting overall. Chen honed his techniques during his time in Tokyo and created the basis for his approach to painting. The works created after his return to Taiwan from his time on the Chinese mainland reveal Chen focusing his intimate gaze on nature and the lives of people, as he utilized the formal traditions of the continent and the modern Western-style painting techniques and manner of looking at things learned in Japan to develop a uniquely Taiwanese form of modern painting. His inclusion of motifs such as electric poles and smokestacks amidst the Taiwanese natural landscape burgeoning with life force stand as symbols of modernization and mechanization, thus revealing a painter’s gaze viewing actual signs of his time period amidst the landscape before his eyes. In Chen’s The View of Tamsui, a theme he returned to time and again, he focused on the red architecture that speaks of the history of Dutch rule, and town scenes with rows of traditional Taiwanese houses, imagery unlike that found in the works of other Taiwanese painters of the day who liked to paint seaside views that weave inlets with images of Mt. Guanyin. His works reveal a rich color palette and matière—brown and red buildings, with relatively smoothly painted walls and straight-lined tile roofs, intermingled with green trees rendered in curving brushstrokes. Chen’s View of Tamsui paintings can be seen as symbolizing the history of Taiwan with its absorption of several different foreign cultures. The Under the Searing Sun exhibition was an attempt at tracing the changes in Chen’s oeuvre on a motif-by-motif basis, from early period to final years. In addition to such well known works as Wenling Marzu Temple (1927), Middle of the Street in Chiayi (1934), Gazing at Jade Mountain from Ali Mountain (1935), View of Tamsui (1935) and Early Autumn (1942), this exhibition provided a comprehensive display including the debut appearance of early period watercolors. The exhibition was further enhanced by the presentation of materials related to Chen’s life and work, such as the art books magazines and picture postcards he collected, plus photographs and letters. The exhibited items are only one fraction of the extant materials related to Chen, but their inclusion reveals the organizers’ intention to show the background to his paintings—what he saw, what he thought about, who he interacted with. The Journey through Jiangnan exhibition held at the Taipei Fine Arts Museum was planned by Lin Yu-Chun, a curator at the museum who has conducted a succession of surveys on modern Taiwanese art and written books about Chen. The exhibition’s organization into six sections: 1) Oriental Landscape; 2) Wartime Jiangnan Cities; 3) From Eye-level Perspective to Aerial Looking Panorama; 4) Academic Sketches to Lyrical Nudes; 5) Records of Life and Family Portraits; and 6) Interaction with Shanghai Art Circle, provided an easily understood reflection of the characteristics of Chen’s Shanghai period painting style. Section 1) presented landscape works depicting places like Taihu Lake and West Lake that have been revered since antiquity for their scenic beauty, while section 2) presented a group of works on urban themes, such as Shanghai. Althought the natural scenery displayed in section 1) was rendered in longer, flowing ink painting-like brushstrokes, conversely, Chen frequently used dark, almost black outlines in his urban scenes displayed in section 2). As clarified by the materials displayed in section 6), Chen mingled with the mainland painters in Shanghai and had many opportunities to see Chinese paintings from the Song, Yuan and Ming dynasties. Later Chen summed up his experiences, “On the continent I understood the importance of fusing Ni Zan, Badashanren, Renoir and van Gogh.” Section 3) introduced a large number of bird’s eyeview compositions that represent Chen’s movement in the 1930s away from the Western perspectival methods seen in the Taipei Fine Art Museum’s works that he created during his study years in Tokyo in the 1920s. For Chen, his time as an art teacher in Shanghai was a period in which he could put into practice his systematic painting education. It is fascinating to note that a great number of watercolor sketches of female nudes remain from this period. Simplified forms captured in outline, and a single brush of flesh tone on the skin and green in the background. While there have been no oil paintings introduced that directly reflect these nimbly drawn sketches, Chen can be thought to have had some aim for them other than simple basic practice. Since the depiction of the female nude is deeply linked to the reception of Western academism, the introduction of these works is meaningful. Section 5) displayed portraits of the artist’s family, such as My Family (1931). With his family together under one roof again for the first time since he left for his studies in Tokyo in 1924, the Shanghai period was a time of increased family interaction. While Chen is highly regarded for his landscape paintings, this section revealed how in Shanghai he put more effort into his study of figural expression, including the female nude. The essay in the catalogue by Chiu Han-ni, “Reappraising Chen Cheng-po’s ‘Shanghai Period’,“ indicates that by 1927, when he was studying in Tokyo, Chen had made plans to “travel to the Chinese mainland in search of painting subject matter.” Lin Yu-chun’s essay indicates that for a person like Chen, born in Taiwan in 1895 when the island had already come under Japanese political control, China was seen as more culturally advanced and further, that a longing for the Peach Blossom Spring utopia lies at the root of Chen’s oeuvre. While brief, Chen’s Shanghai interlude was closely related to his later oeuvre. The two exhibitions, Under the Searing Sun and Journey through Jiangnan, were mutually complementary introductions to the oeuvre of a single mind. While Chen was born in Taiwan and spent the majority of his life there, China was the land of his ancestors. Up until 1945 he considered Japan his birth land, his mother country, and the land of his citizenship; after 1945 he considered China to have assumed those roles. The fascinating question remains, where does such a person seek his own identity when he is painting, facing his own expression. As if tracing the shift between his painting locales, viewers had to change location to view these two exhibitions, and thus were provided with an important opportunity for comparison and visual appreciation. From the latter half of the 1910s Japan saw a growing interest in “East Asia,” and it was a time of increased human and material interaction and exchange. Many Japanese painters traveled to China, including to Shanghai. Even though geographically the same place, for each person the place held different meanings, provided opportunities for encountering different things. And how they received what they encounter, that too was not uniform. Indeed, Chen Cheng-po’s works tell the tale of the complexity and depth of the modern arts of East Asia. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 409, p. 32-35, 発行日 2013-03-22 |