The Chiayi Art Museum is built upon the arts and culture characteristics of Chiayi, City of Paintings. Since the preparation period, it has been rooted in the "Preserving and promoting the value and glory of Chiayi, City of Paintings," "Incorporating creativity of aesthetics, art and culture into daily lives and education," "Enriching content of a cultural city in Chiayi" and diverse art development, shaping its important characteristics as an urban art museum. Therefore, the planning of exhibitions and performances takes into account the art history, content characteristics and city character, and takes the contemporary perspective for professional curation and art and culture activities to showcase the works and creation of past artists from the Japanese colonial period and contemporary artists, crossing the boundary of era, region and forms of works. Contemporary dialectics are brought into exhibitions, collections, research, promotion of education, publications and various events, enabling people to examine, search and understand the past from today's daily life and culture perspectives, and creating new perspectives to re-examine and explore our environmental and social issues.

Chiayi Art Museum

Organizer

The Lin Family Mansion, Banqiao (Fangian Study)

Tower Scene at West Lake

Group Portrait (XII)

Shanghai Dock

Self-Portrait (II)

Looking Towards Zhuluo

Linglang Mountain Hall

Accumulated Snow on Jade Mountain

Self-Portrait (III)

Changde Ancient Temple No. 1

Breaking Dawn in Jade Mountain

Beitou’s Street View

A Lady

Naked Man

Portrait of Chang Chen-Hsiang

Portrait of Ms. Kung (Kung Chiou-Chan's family)

Village of Huxia

Plum Bamboo,Camellia,Munia

Oxcart

Formosa Fruits

Clear Light in Mountains

Fishing, Woodcutting, Farming, Reading and Enjoying the Peace

Wood Horse in the Air

Stay on Duty

Reminiscing about Yangzhou

Flowers and Birds

Boating at Night Alone

People Coming to Autumn Waters

Li Bai's Poem: Pavilion of Xie Gong

The Maha Prajna Paramita Heart Sutra

Landscape after Guo Xi

Alishan Ancient Cypresses

Sisters’ Ponds

Bamboo and Rock

Flowing Springs

Pine Stream with Flowing Spring

Looking for Inspiration Beside Mountain Stream

Meaning of Late Mountain Green

Poem: Plum Blossoms/ The Ancients Praise of Plum Blossoms

Ink Painted View

Greenery Autumn Mountains

Bamboos

Graceful Posture (Calligraphy and Painting)

Sparse Shadows and Cold Light

The Song of the Spirit of Righteousness

Chinese Character

Su Shi's Poem: Yangchuan Garden-Study

Collection of Du Fu's Verses

Zheng Xie's Self-titled Couplet

Hut and Smoke Tree

Sea of Clouds and Mountain Temple

Han Yu's Poem: Song of the Stone Drums

Suddenly Hear of Tung Tree Leaves Falling on Traveling Man: Nostalgia

Cursive Couplet

Liu Chun Zhai's Poem: Wuchang Liu's Garden

Autumn Bananas

Loquat in May

Collaborated Work of Chun Meng Painting Association (Flowers and birds)

Collaborated Work of Chun Meng Painting Association (Good Luck, Spring Window Qinggong)

Collaborated Work (Plum, Orchid, Bamboo, Chrysanthemum, Pine)

Collaborated Work of Chun Meng Painting Association (Midsummer in Southern Taiwan)

Ink Rubbing landscape (Calligraphy and Painting)

Birds and Custard Apples

Calligraphy and Painting Exhibition of Shen Shao-Jun: Congratulations Couplet

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Painted Identity of a Homeland

From the Qing Dynasty, Japanese colonial period to the Republic of China (R.O.C.) government, the development of art in Taiwan over the past century has been as diverse and varied as the multiple colonial experiences it has undergone. Regardless of whether they were dispersed by study, work, business, defense, or war, artists have traveled to and from different borders, and the migration, contact, integration, and conflict that resulted from these cross-border experiences have become inevitable. The exhibition is titled "Painted Identity of a Homeland", which sets Chiayi as a spatial focal point and explores the issues of artistic mobility and cross-cultural interactions between artists from Taiwan and China during the period of Japanese colonial period and the post-war period. Meanwhile, it analyzes how the artworks highlight the ambiguous identities of "homeland" and "foreign land" in the blurring and overlapping of identities in time and space, and what kind of mixed national identities are presented.

The exhibition includes two major categories: (1) Taiwanese painters from Chiayi who went to China during the Japanese colonial period, and (2) Chinese painters from various provinces who crossed the sea and settled in Taiwan after the war and worked in Chiayi. It also involves (3) A few Chinese painters who immigrated to Taiwan during the Japanese colonial period or came to Taiwan for travel and art exchange. When living in Chiayi, this “homeland” or “foreign land”; the complicated interpersonal networks are also formed between host and guest/ insider and outsider. These people were teachers and government employees, or they made efforts to creative works and promoted art education activities, making huge contributions to Chiayi. Through communication, group consciousness was formed, maintaining one's own cultural attributes or expanding ethnic connections, highlighting complex identity characteristics of different eras, generations, regions or origins, forming a phenomenon of interaction and correspondence in style and spirituality.

Based on the relationships and interactions between different groups, the exhibition features six sub-themes: "The Other Land of The Shore", "Transgressing the Boundaries of Time and Space", "Images of Residence", "Typical Culture", "Inherited Art of Ink Painting and Calligraphy"and "Elegant Assembly and Social Art", displayed by comparing each other through multiple viewpoints.Through the connection of cultural theories at different stages from colonial, post-colonial to trans-colonial periods, this exhibition examines the diverse aspects of the development of art in Chiayi from the Japanese-occupied period to before and after the lifting of martial law and analyzes the contemporary significance of migration, mobility and the intersection of space and time in the artworks of different groups. At the same time, under the special political situation, the exhibition expresses what kind of cultural negotiations are entangled between the nation, homeland, group self and a place, what kind of conflicts and media are used to reconcile the contradictions and differences between Taiwan, Japan, China and the West, and then finds the answer of the reconstruction of self-image and self-identity.

Painted Identity of a Homeland

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Shen Shao-Jun has been modeling on the great masters of the Tang Dynasty, such as Yan Zhen-Qing, Liu Gong-Quan, and Ouyang Xue, and later explored the subtleties of the various styles of Wei inscriptions, and said that he was most fond of the vigorous brushwork of the Northern Wei Dynasty. This couplet reproduces Liu Shun-Zhai's "Wuchang Liu Garden couplet", although written in clerical script, it still carries the solemn and majestic style of the Wei inscription style, which expresses the inner feelings, and can also be seen that his style is compatible with the strengths of various styles of calligraphy, blending the different meaning of the ancient calligraphy.



Shen Shao-Jun
Calligraphy on paper
136x24cmx2
1995
Collection of Ms. Shen Fan-Yin