Rupture and Continuity The Discovery and Interpretation of Cheng Chung Chuan's Painting

• Main Authors: Liu, Wei-Ling, 劉威伶
• Other Authors: 廖仁義
• Format: Others
• Language: zh-TW
• Published: 2017
• Online Access: http://ndltd.ncl.edu.tw/handle/7p44uz

碩士 === 國立臺灣師範大學 === 美術學系 === 105 === In 1945, the period of Japanese rule in Taiwan of 50 years ended. The political and social uncertainty in Taiwan after the war led to the creation of a new space for art and innovation for young people. From the 1950s to the 1960s, the “May Painting Society” and “Orient Painting Society” were representative painting groups that initiated the “modern painting movement” in Taiwan art history, igniting young artists’ passion for novelty and change and turning Taiwan’s art style from realism into abstract. Taiwan Provincial Teachers’ College (predecessor of National Taiwan Normal University) is said to be a representative of post-war college art education in Taiwan that passes on the solid college traditions during the Japanese Colonial Period and guides young artists to establish solid creative ability from themes, concepts, techniques, and other aspects. In 1957, Chi-Chun Liao led students of Taiwan Provincial Teachers’ College to establish the “May Painting Society” and become involved in the “abstract” trend that had already taken shape in the world art community, where artists’ inner thoughts and emotions were expressed in pure forms. Cheng Chung-Chuan (1931-) was one of the founding members of the May Painting Society who took part in the enlightenment period of modern painting in Taiwan in the 1950s but disappeared from the art stage in Taiwan after 1957. It was not until the 1990s that she reappeared in Taiwan’s art community. This paper is divided into five focuses: First, Cheng Chung-Chuan’s family background and schooling process were traced; second, the start of her artistic career and the revelation of her art talent were reviewed; third, the difficult process of her bidding farewell to the creative stage was clarified; fourth, the revival of her artistic life was discovered. Finally, Cheng Chung-Chuan’s painting works through the years were classified and analyzed. Female artists in Taiwan were a rarity in the 50s. Cheng Chung-Chuan’s painting career both began and temporarily ended in the 1950s, and it was not until the 1990s that she was ready to start anew. Her roundabout course represented both the vicissitudes of a female artist’s personal art career and a crack in the modern art history of Taiwan needing to be filled. History can only go on when cracks are filled. The purpose of this study is therefore to find the forgotten corner of Taiwan’s art history in order to establish a more complete image of Taiwan’s art history.