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The Colonial Style of Taiwanese Painter Chen Cheng-Po (1895-1947)

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The Colonial Style of Taiwanese Painter Chen Cheng-Po (1895-1947) Identity, Modernity, and Hybridity: The Colonial Style of Taiwanese Painter Chen Cheng-po (1895-1947) DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Christina Sarah Wei-Szu Burke Mathison Graduate Program in History of Art The Ohio State University 2013 Dissertation Committee: Professor Julia F. Andrews, Advisor Professor Lisa Florman Professor John C. Huntington Professor Andrew Shelton Copyright by Christina Sarah Wei-Szu Burke Mathison 2013 Abstract At the end of the nineteenth century and beginning of the twentieth, the collision of rapid modernization and cultural identity caused massive upheaval in East Asia as wars redrew national boundaries and occupation reshaped traditional viewpoints. From the First Sino-Japanese War (1894-1895) to the Second World War (1939-1945), conflict brought both destruction and cultural exchange. Few places demonstrate this more clearly than Taiwan. Occupied by the Japanese from 1895 to 1945, Taiwan was enriched by a modernized educational system and an active colonial government but was overwhelmed by forced cultural assimilation. Artworks of the time illustrate the interaction of these forces, but one artist in particular, Chen Cheng-po (1895-1947), combined a multitude of influences to create uniquely Taiwanese works. His paintings capture the interplay of colonialism, identity, and cultural hybridity in a way that defines the era for Taiwan. Born the year the occupation began, Chen was educated in the Japanese system, studied in Tokyo, taught in Shanghai, and returned to work in Taiwan. Although killed by the Kuomintang government, his paintings and success as an artist in the three regions he traversed demonstrate Chen’s ability to harness cultural interplay. This dissertation examines Chen Cheng-po’s artworks and personal documents to explore the meaning of identifying oneself as a Taiwanese individual and colonial subject during the Japanese occupation. This dissertation explores primary sources, such as Chen’s own writings and his collection of reproductions of art, within the colonial ii context through the writings of theorists such as Edward Said, Fernando Ortiz, Homi Bhabha, and Claude Lévi-Strauss. It considers how Chen does not simply conform to colonial government standards in the creation of his artworks. Instead, his paintings manifest his ability to understand and succeed within a variety of art circles, and consciously adopt specific elements to create independent and original works of art that exemplify his travels and absorbed ideologies. Returning to Taiwan, Chen’s efforts functioned as a catalyst for the growth and development of the Taiwanese art world, even after his death. Despite this acclaimed career, how is it that Chen is scarcely recorded in Japanese and Chinese art histories, and only now receiving the attention as an artist that he deserves? Political oppression prevented detailed study of the materials associated with Chen until the 1980s, and new primary sources are still emerging. It is my goal in this dissertation to fill voids in the historical accounts of this period, particularly as the last few years have revealed an outpouring of paintings and documents that have been concealed since Chen’s lifetime. This study will examine his works in the contexts of identity and colonization, excavating the layers of complexity in the hybrid nature of colonial Taiwan as revealed in Chen’s paintings. iii Dedication To the memories of my Ah-ma Burke and Ah-Ma and Ah-Kung Lai iv Acknowledgments This dissertation would never have come to fruition without the endless support of many individuals. My adviser Professor Julia F. Andrews has provided me with countless opportunities to study with world-renowned scholars and witness her endless contributions to our field. I am greatly indebted to her for her sound advice and exceptional example of scholarly research. Professor Kuiyi Shen of the University of California San Diego has also served as a remarkable resource of knowledge in my education over the years. The education Professors Andrews and Shen have provided personally and more broadly in their research and publications is immeasurable. Professors John and Susan Huntington have also provided so much support since the first day I visited The Ohio State University. I could not have completed this degree if it were not for their encouragement and instruction. I am also grateful to my committee members, Professor Lisa Florman and Professor Andrew Shelton for generously extending their knowledge and guidance throughout the writing process. I appreciate very much Professor Florman’s patient guidance, willingness to meet to discuss European art, modeling sound research and teaching, and her sheer kindness as I worked on this project. Professor Shelton was extremely generous with his time while working as Chair of the History of Art department and I am grateful for his editing and advising. Professor Maureen Donovan provided countless hours of time discussing the Japanese art world with me. I am grateful for her encouragement and excitement for my project. My hope is v that this thesis reflects at least a portion of all of the time and effort provided by my committee members. Also in the History of Art Department, I want to thank those professors who have aided in my education during my time at The Ohio State University. While not involved directly with this dissertation, they have provided isnight and advice that has been integrated into my work here. I am also grateful to the administrative staff members, Mollie Workman, Gwyn Dalton, and Mary Jones for all the answers they have provided to my endless lists of questions. I owe an immeasurable amount of thanks to the family of Chen Cheng-po. Without their generosity and kindness this project would not exist. Chen Tsung-kuang, Chen Li-po, Betsy Chen, and their family welcomed me into their home, provided me with documents and time with their father’s/grandfather’s paintings, and entrusted me to share the life of this remarkable artist with an English-speaking audience. Outside of the dissertation research there are so many people to thank that I can only begin to address them here. Jane, John, and Margaret Mathison have provided the encouragement I have needed every step of the way. They have cheered me on and assisted me in every way they could. I am grateful to my Lai family in Taiwan who housed me and put up with my constant questions and poor Chinese as I learned more about their country. I am thankful for my Taiwanese grandparents and their willingness to have a curious American come live in their home and experience Taiwan with them. To my sister, Shyr-chii, I am grateful for all the smiles and laughter she embedded into my work as I have gone through this process. I cannot thank my parents enough for introducing me to Asian art long ago and for supporting me through to the completion of vi this degree. Their faithful encouragement and perpetual willingness to assist me in my travels and research were critical to my research and wellbeing. I would especially like to thank my husband, Randy—not only for the technical assistance in preparing the dissertation, but also for all of his patience, love, and endurance along the way. Without his constant encouragement, support and good humor, I would not have made it this far. He has been a source of strength, a good example to me as he finished his dissertation, and the best teammate. To God be the Glory. vii Vita May 1997 ....................................................... Southfield Christian High School May 2002 ....................................................... B.A. History of Art, Michigan State University May 2002 ....................................................... B.A. Chinese, Michigan State University June 2005 ....................................................... M.A. History of Art, The Ohio State University Publications “Identity, Hybridity, and Modernity: The Colonial Paintings of Chen Cheng-po”( , , : ) in the exhibition catalogue, (Xingguo jiangnan-Chen Cheng-po yishu tansuo licheng) Journey Through Jiangnan: A Pivotal Moment in Chen Cheng-po’s Artistic Quest, Taipei: Taipei Fine Arts Museum, March 2012. “Transnational Cultures, Hybrid Identities” in the exhibition catalogue, ( , translated: Under the Searing Sun-A Solo Exhibition by Chen Cheng-po) Taipei: Taiwan Soka Association, March 2012. “Identity and Colonialism: The Paintings of Chen Cheng-po,” (Xinshijie, Chen Cheng-po, translated: New Horizons, Chen Cheng-po) Conference Proceedings, Chiayi City: Chiayi Cultural Affairs Bureau, October 2011. Pong, David. Ed., “Pang Xunqin” in Encyclopedia of Modern China, Detroit: Charles Scribner’s Sons/Gale, Cengage Learning, 2009. Pong, David. Ed., “Lin Fengmian” in Encyclopedia of Modern China, Detroit: Charles Scribner’s Sons/Gale, Cengage Learning, 2009. viii Pong, David. Ed., “Liu Guosong” in Encyclopedia of Modern China, Detroit: Charles Scribner’s Sons/Gale, Cengage Learning, 2009. Fields of Study Major Field: History of Art. ix Table of Contents Abstract ................................................................................................................................ ii Dedication ........................................................................................................................... iv Acknowledgments ..............................................................................................................
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