The Fifth Moon and Eastern Painting Groups: Two Major Associations involving Taiwan's Modernism Art Movement
Chen Tingshi joined the Fifth Moon Group in 1960 and was also one of the founding members of Modern Print Group. Although he lost his hearing permanently in an accident at his early age, the chaos of the sun and the moon built in his work can exactly compose a lonely yet beautiful silence in his world. In the Day and night series, blocks in ochre ink usually take a large chunk of area, combining with symbolic signs of heaven and earth, to present the balance of Yin-Yang, alternation of day and night and other laws of the universe. Day and Night #49-52 (Lot 515) is composed of four blocks of paintings whose long and narrow shapes add a decorative fun.
Hsia Yan, another important founding member of the eastern Painting Group, learnt to paint from Li Chun- Shan at his teenage. In his early 30, Hsia Yan travelled to Paris and New York to find the direction in his art career. During this period of time, he developed the famous fluffy series. Although with a childish name, the appearance of the figures are painted by countless brief lines of various thickness and forms (bent or straight), possessing a strong tension of dynamics and emotions. Furthermore, he exploited from myth and legend, folk religion and daily life, with reference to the expression of the lines in traditional Chinese painting, decorative motifs and spatial structure pattern in western painting. His work Mazu (Lot 516) painted in 1990s, with a surreal style and also oriental beauty, is one of the excellent demonstrations.
As one of the major member of the Fifth Moon Group, also an abstractionist landscapist, poet and philosopher, Chuang Che combined the essences of Chinese literati painting and western abstract expressionism in his works. He has long believed that art must be able to convey the artist's feeling. If detached from the reality, it will inevitably deteriorate to void. He rejects the reduplication of natural appearance, and embarks on the road of abstractionism to explore the essence of the nature, and exhibits deeper characteristics of the nature through symbolic methods, such as plant roots, cobbles and organic substances. In his work Landscape (Lot 517), Chuang Che applied bold splashcolour and exquisite brushstroke to indicate forms of all the geographic elements and living creatures, and to present a tremendous abstract natural force.