[Public Lecture] After the Abolishment of the “National Painting”: The New Cultural Theory about Ink Painting in the Post-war Period
Since 1950, Taiwan has begun modern transformation/ revolution in the world of painting during the post-war period.
INTRODUCTION About the Speaker Featured image
Since 1950, Taiwan has begun modern transformation/ revolution in the world of painting during the post-war period. This not only struck its art development but also led to the birth of modernism and modern art in Taiwan. Even though Taiwan had the impact of modern Japanese and traditional Chinese cultures, it was not enough to meet the needs of modernization of art there. In mid-1970s, Taiwanese artist Chu Ko (1932-2011) proposed to abolish the “National painting” which reflected the extreme opposite views between the old and the new cultures. Revolutionists emphasized that art should not be classified into East and West, or major and minor. It aims at creating a bigger world vision and to avoid centralism. This lecture uses an “East Asian Community” perspective to analyze Taiwanese artist Chu Ko’s ink paintings and how it related to the 20th century’s modern culture.
Prof. PAI Shih-ming received his PhD in art history from Kyoto University, Japan. Currently, he is a professor of the Department of Fine Arts at National Taiwan Normal University in Taiwan. In recent years, he has been focusing on the modern art issues in Taiwan, cultural discourses and cultural exchanges with neighboring areas, etc. He aims to re-examine the impact of culture, historical memory, modernity, cultural boundaries and construction of subjectivity on the development of modern art in East Asia.
The substance of Mountains and Clouds (Diptych) 曾經滄海難為水, 除郤巫山不是雲 (雙聯幅) Chu Ko 楚戈(1932-2011) 1994, 219 x 95cm x 2pcs Chinese ink and color on paper 紙上墨彩