| Summary: | 碩士 === 國立臺北藝術大學 === 美術學系碩士班美術史組 === 101 === Kaohsiung, located in South-western Taiwan, is the second metropolis in Taiwan. In its early history, it was only a fishing village where migration lived. There was seldom literate gathering. In 1895, Japanese took over Taiwan as its colony. After that, Japanese actively implemented their new policies over the island, and at the same time brought the new fine art education to Taiwanese. Influenced by the official exhibitions such as “Taiwan Fine Art Exhibition” and “Taiwan Government Fine Art Exhibition,” the fine art was widely promoted promptly, which made the artists’ social position higher. Thus, the artists in different areas started to organize art group and hold exhibitions. Kaohsiung was no exception. The pan-impressionism works of the members of Bai-rih Art Group (白日畫會) that organized by the Japanese, Shinkichi Yamada became the typical style of fine art in Japanese occupation Kaohsiung.
In 1945, World War II ended. By this time, the fine art in Kaohsiung area became blank. In 1952, Liu Chi-hsiang who just returned Taiwan from Japan, moved to Kaohsiung, and became the leader, who founded the first art group after WWII –namely, Kaohsiung Fine Art Institute. He also founded Southern Taiwan Fine Arts Association in 1961. Both of the two art groups became the propeller of the modern fine art in Kaohsiung.
Due to the late start of fine art, compared with Taipei, as well as lack of institutional fine art education, the abstract art in Kaohsiung was dawned by the poet painter Jhu, Chen-dong’s residence and developed in 1970s, when the art group sprouted. By this time the newly organized art group by new generation already became more and more, such as Southern Modern Fine Art Group in 1968, Sin Siang Art Group (心象畫會) in 1974, and Wu Ma Art Group (午馬畫會) in 1979. These art groups act as the role of the pioneers of new movement in fine art in the next decades.
Founded in 1980, Southern Artist Union linked the painters during the late 1970s with the beginning of 1980s in Southern Taiwan. But it didn’t last long and it was taken over by Kuei Art(夔藝術), a local group organized in 1982. By 1987, Martial Law was lifted and that’s meant a time of political and society structural revolution was coming. The demonstration and gathering were thrived. At this time the first official recognized modern painting group Kaohsiung City Modern Painting Association (高雄市現代畫學會) was founded. Different from those groups simply formed by painters, this art group used its creation, discourse, and publications to promote fine art education as well as fine art policy made by the government. Gradually, it has established Kaohsiung’s cultural position in Southern Taiwan.
From Bai-rih Art Group in Japanese occupation period, the post-war 1950s Kaohsiung Fine Art Institute, to the late 1980s Kaohsiung City Modern Painting Association, over these years, the quantity of newly-founded art groups was not many. Most of the members of these newly-founded art groups were amateur painters. But the subjectivity of Kaohsiung fine art is gradually forged by the art groups’ continuity and their concern to the local. Among all of this, Kaohsiung City Modern Painting Association in 1980s contributed to the modern fine art campaign in Kaohsiung and it became the cradle of the subjectivity of Kaohsiung fine art in the 1990s.
This study uses documentary analysis method to focus on the western painting fine arts influenced by western influx and observe “the art group” activities in Kaohsiung area from Japanese occupation period to 1980s to understand the trace of modern fine art activities in Kaohsiung area.
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