Capturing the essence of Taiwan on canvas

2017/11/06

Celebrated for vibrant paintings depicting local folk customs and natural scenery, artist Tseng Yu-wen has explored diverse canvases and mediums on his lifelong journey to convey the beauty and cultural richness of Taiwan.
 
 The paintings of Tseng Yu-wen vary considerably in composition and subject matter yet are linked by a common purpose—to convey the essence of Taiwan. Over his decadeslong career, the acclaimed artist has sought to shed light on the richness of local folk culture and majesty of the country’s natural environment. It is unsurprising then that his paintings have been exhibited at the American Institute in Taiwan, European Economic and Trade Office in Taiwan, American Club Taipei and other institutions serving foreign nationals living and working in the country. His vivid artworks are gateways into local customs and windows on the nation’s stunning landscapes.
 
 Tseng’s pieces stand out not merely for subject matter, but also technique. Comprised of thick, bold colors and rough-hewn surfaces, his paintings are unapologetically eye-catching, interweaving classical Western approaches with Eastern ink-wash practices. Tseng’s fusion of diverse artistic traditions to convey cultural and natural scenes is apparent in his voluminous collection “The Colors of Taiwan.” Depicting subjects ranging from white egrets in rural fields to Taoist temple deities, the works contained within differ broadly in theme, but in totality form a vibrant record of Taiwan.
 
Artistic Development
 
 Born in 1954, Tseng grew up on historic Chongan Street in southern Taiwan’s Tainan City. The origins of his fascination with Taoist temple rituals and the country’s folk traditions can be traced back to his childhood on the red brick-paved street. Tainan, Taiwan’s oldest city and ancient capital, is a stronghold of traditional culture, renowned for the number and diversity of its temples. Growing up in this environment planted in Tseng a seed of appreciation for folk motifs that would inform his artistic career.
 
 Another key factor in Tseng’s artistic development was his grandfather, Tseng Fu-tien. A renowned calligrapher, the elder Tseng cultivated his grandson’s aesthetic sense, endowing him with a deep appreciation for the elegant strokes of traditional calligraphy. Family connections also reinforced the artist’s attraction to religious imagery. His grandfather’s younger brother, Tseng Ci, was a well-known and widely respected Taoist priest.
 
 The influence of his grandfather and granduncle is clearly visible in the subjects of Tseng’s artistic endeavors. For instance, his works inspired by Taoist talismans—instructions written on gold paper that are believed to have special abilities such as the power to ward off evil spirits—use calligraphy strokes to depict folk deities such as the Earth God; Guanyin, the goddess of mercy; and Fu Lu Shou, the gods of wealth.
 
“Taiwan artists should focus their efforts on capturing the brilliant colors of our homeland,” Tseng said. “This will fill their works with a unique vibrancy and help transmit local culture to the world.”
 
Though Tseng realized his calling at an early age, the road to artistic accomplishment was not without challenges. While studying painting at National Taiwan Academy of Arts—now National Taiwan University of Arts—he found himself at odds with the illustration course’s focus on Western subject matter and techniques.
 
 Tseng recalled that the plaster figures they were required to sketch during lessons were all Western gods such as Apollo and Venus. “I couldn’t understand why we weren’t also asked to illustrate Eastern deities such as Guanyin and Mazu,” he said, adding that classical depictions of Eastern and Western gods are distinct, with images of Eastern deities typically possessing softer lines than their Western counterparts.
 
 Similarly, Tseng had little enthusiasm for the monochromatic landscapes of traditional Chinese ink-wash paintings. “When the professors were teaching us how to produce traditional ‘shan shui’ ink-wash works, my mind drifted. I longed to paint images from my hometown, from folk culture,” he said.
 
New Mediums
 
 According to Tseng, his goal is to create artworks that resonate with viewers while imparting a deep impression of Taiwan. To this end, the painter has frequently experimented with different mediums and techniques.
 
 After graduating in 1976, Tseng started his art career as a Chinese landscape painter, primarily creating ink and watercolor works. By 1978, he had begun focusing on oil painting, a medium he thought better suited to conveying the flavor of Taiwan. In time, bold contrasting colors become a hallmark of his pieces. In his signature series “Eight Immortals,” for instance, the eight Taoist figures, often seen on shrines or charms in Taiwan, are portrayed using a diverse and effervescent palate featuring bright yellow, emerald green, indigo blue and vermilion. Vivid in color, his representations of the immortals are also abstract in form, reflecting Tseng’s tendency to eschew linear or clear lines in favor of more esoteric depictions. “I wanted to find a new way of interpreting folk and traditional culture,” he said.
 
 As his techniques evolved, Tseng explored different canvases, including the aforementioned gold paper used for Taoist talismans. According to the artist, he also began painting on wood since the natural material is well suited to conveying the innate strength of folk traditions and Taiwan’s indigenous peoples.
 
 In more recent years, Tseng, inspired by his previous use of unorthodox canvases such as wine bottles, has turned to painting porcelain bowls and plates. Porcelain surfaces add extra fluidity to images, altering the way in which viewers perceive artworks, he said.
 
 Having begun his career some four decades ago, Tseng has witnessed the ebb and flow of numerous trends in the local art scene, ranging from the past focus on traditional Western painting to the more recent emergence of vibrant indigenous arts. Amid this fluctuating tide, the Tainan-born painter has remained committed to his core artistic ideal of capturing Taiwan’s essence in bold colors across diverse canvases. With an undimmed affection for the culture and sights of his homeland, the 63-year-old is continuing his artistic journey, searching for new and ever more creative ways to share his perceptions of Taiwan.

Source: Taiwan Today (http://taiwantoday.tw/news.php?unit=19&post=124325)