Five key elements of the Eastern Gouache Painting in Taiwan
An introduction to the exhibition “Too Loud a Solitude, A century of pathfinding for Eastern Gouache Painting in Taiwan”
An exhibition of Eastern Gouache is currently being held at the Taipei Fine Arts Museum. It is one of the most captivating art exhibitions on the island, showcasing exceptional Eastern Gouache paintings from the Japanese period to the present day.
You may find the term “Eastern Gouache” slightly confusing at first. This style of painting, which uses mineral pigments on silk, is sometimes referred to as Eastern Gouache. It is more commonly known as Tōyōga or Nihonga, which are translated in Japanese. These terms reflect the influence of different regimes that have ruled Taiwan over the past century. It was originally called Tōyōga during the Japanese period when the painting style was introduced to Taiwan by Japanese artists such as Gobara Koto.
After World War II, the Kuomintang (KMT) established its regime in Taiwan following their defeat by the Chinese Communist Party (CCP). During this time, Japanese-style painting faced suppression under the propaganda of “returning to Chinese culture.” To adapt to this political environment, the style was later renamed Jiaocai (膠彩畫) in Mandarin by Lîm Chi-chōo (林之助, Mandarin: Lin Chih-Chu). In Taiwanese, the style is called Tang-iûnn-uē(東洋畫), though this term is rarely mentioned in the exhibition.
Additionally, the exhibition tends to use Mandarin translations of artists’ names, even though most of the Taiwanese artists featured were born during the Japanese period and primarily spoke Taiwanese. Both Japanese and Taiwanese languages were banned under the KMT rule. The name of Taiwanese people were forced to have a name pronounced in Mandarin afterwards.
The exhibition provides a glimpse of Taiwan’s scenery through the eyes of both Japanese and Taiwanese artists. The vibrant tropical landscapes are often highlighted, expressed through the contrasting effects achieved by the layering of pigments. Below are the five key elements in the exhibition.
- Plants
Entering the exhibition room, you may be surprised by the contrast. There are paintings like Early Summer in a Southern Country (南國初夏), featuring ablazing colors. While others, such as a depiction of the Tamsui River, are characterized by low contrast and subtler tones. Perhaps, these reflects the artist’s initial impression of Taiwan’s natural beauty.
One of the most iconic flowers in the exhibition is Ting-á-hue (Taiwanese: 燈仔花, Mandarin:朱槿). It is called the hibiscus in the English speaking word. Ting-á-hue is commonly seen in the countryside of Taiwan, captivating viewers with its bright red color.
You could also noted the flower embroidered on the tent in Leisure by Tân Tsìn (陳進, Mandarin: Chen Chin). The admiration for Ting-á-hue has made it a common theme in painting. In pop culture, there is a song tilted Ting-á-hue as well.
2. Cattle: Tshiah-gû
In Taiwan, cattle used to help plowing the field and was believed to have been introduced by the Dutch East India Company. The most common species in Taiwan was tshiah-gû(赤牛), meaning “red cattle,” which is referred to as 黃牛 (“yellow cattle”) in Mandarin.
Buffaloes can also be seen in the exhibition. Both cattle and buffaloes are symbols of farmers and hard work. During the Japanese period, a talented writer, 呂赫若 (Hakka: Liˇ Hag-rhiog, Mandarin: Lu He-jo), published a short story titled “牛車” (Gû-tshiah, or Bullock Cart) , which brought him recognition in literary circles of Japan.
The story depicts the miserable life of bullock cart drivers, whose livelihoods were replaced by modern automobiles. Later, cattle became an icon representing the Taiwanese people’s pursuit of democracy. The exhibition features “Two Heads of Cattle by ”Lîm Gio̍k-San (林玉山, Mandarin: Lin Yu-Shan) depicting a buffalo and a tshiah-gû alongside a cluster of cactus, which may symbolize difficulties and hardship.
3. Birds
Birds are a common theme in Tōyōga . When this style of painting arrived in Taiwan, it merged with local environment. The birds depicted in Tang-iûnn-uē are predominantly species native to Taiwan. Among these is Taiwan magpie, Tn̂g-bué suann-niû（長尾山娘） in Taiwanese. The Taiwan magpie was first collected by British biologist Robert Swinhoe, who translated its Taiwanese name into English, referring to it as the “Long-tailed Mountain-Nymph.”
Roosters, commonly raised by Taiwanese people at home, also became a frequent subject in paintings. One notable example is the folk song “Grasshopper Teasing the Rooster” (Tsháu-meh lāng ke-kang), which depicts a rooster pecking at a grasshopper. The iconic depiction of a grasshopper and a rooster can also be found in the exhibition.
4. Furnitures and everyday life
Tân Tsìn vividly captured the everyday life of Taiwanese women, portraying a diverse range of characters, including girls from traditional families, modern ladies, and career women.
In her work Leisure, the traditional bed Âng-bîn-tshn̂g (紅眠床), was a symbol of wealth and was typically owned by landlords or affluent families. Beyond the Ting-á-hue motif, the bed features carvings of aquatic animals such as shrimp, crabs, and seashells, reflecting Taiwan’s distinctive oceanic culture — an element rarely seen in the Central Plains of China.
During the Japanese era, the status of women began to rise, influenced by the emergence of working women and the growing presence of feminist ideals. Nevertheless, traditional weddings remained prevalent, and societal norms still often regarded marriage as a woman’s ultimate purpose.
The exhibition highlights a spectrum of femininity: some women exude confidence and pride in fashionable attire, while others appear shy and reserved. These works capture the nuanced roles and evolving perceptions of women during this transformative period.
5. Old town and temples
The old towns of Taiwan often developed around a temple, making religious rituals deeply connected to the community. Jiàu-kíng (遶境) or Tsò-lāu-jia̍t (做鬧熱) , a type of festival where the deity is paraded through the streets in a ceremonial patrol, is still a major event for many Taiwanese nowadays.
You can see how festivals were held centuries ago in the exhibition. Lâm-ke, meaning South Street, was one of the busiest streets in Taiwan in the early 19th century. Kueh Suat-ôo(郭雪湖, Mandarin: Kuo Hsueh-Hu) illustrates the Tiong-guân festival in his work Festival on South Street. Products from Japan and Taiwan converged at Lâm-ke. The signboards advertised items such as papaya candies (木瓜糖), gifts from the Austronesian region, and Tāi-kah hats(大甲).
The Tiong-guân festival was originally a time to commemorate those who lost their lives in accidents or conflicts. Over time, the festival evolved into a season characterized by sales and commercial activity.
Museum: Taipei Fine Art Museum
Date: 2024/10/12–2025/02/02
