Taiwan’s wet, warm weather, coupled with its mountainous topography, is conducive to the production of high-quality economic crops. As a result, Taiwan earned the nickname “the kingdom of fruits.” This unit, Food Culture, showcases various fruits such as persimmons from mid-elevation regions, as well as pomelos, wax apples, and star fruits from low-elevation regions. Also depicted are chicken and fish dishes. Delicacies from the mountains and the sea highlight Taiwan’s wide range of foods. In discussions of food, it is natural to include landforms and ecology.

The vibrant energy of Taiwan’s rich food culture is present in the methods by which food is sold, from peddlers carrying poles and stools to lively scenes of vendors and stalls gathered in squares and temple courtyards, and eateries with colorful signs. Each demonstrates a distinctive atmosphere that makes food in Taiwan memorably pleasant to the eyes and taste buds. Food is more than just about flavor, it carries cultural memories that are tied to the environment.

In the background there are houses with fences and in the foreground there are vendors. Although the artist did not delineate faces, there is a feeling of closeness to the people through their actions and interactions, including sitting, standing, carrying a baby, and looking at the stalls. This work displays the food culture of the 1950s. Wherever there was a small lot, even if it was just an open-air venue, vendors gathered to sell snacks that could be taken away or finished quickly. Nowadays, given the stricter laws and regulations, such scenes can only be found in front of temples or in night markets. 

Born in Sichuan, China, Shiy De-jinn lived in Taiwan for 30 years. He once said, “From very early on to today, what has remained unchanged and fundamental in my painting is the scenery of Taiwan as the subject of my art.” This is the reason why he was able to precisely delineate his subjects, using rough black lines and brushstrokes, as well as overlapping colors. As such, he conveyed the liveliness of everyday activities. 

Born and raised in Fengyuan, Taichung, Yang Chi-tong often painted the natural landscapes of his hometown and its religious center, the Tzu Chi Temple, along with its surroundings. With his brush, he captured the fleeting moments of everyday life. This work portrays the Miao Dong Night Market, which originated from the crowds of worshippers at the temple. 

Using the crowd as the focal point of the street, there are townhouses, vendors, and signs on both sides. People are talking, eating at food stalls, or moving towards the outside of the frame, creating a flow typical of night markets. To the dark nightscape and calm tones are added a few yellow spots – perhaps stars, fireworks, or light bulbs – which correspond to the shimmers and moving shadows on the street surface. The sky and the ground mirror each other, conveying a scene that is bustling but not chaotic. 

Tsai Cao-ju was a temple painter and an artist, who often portrayed the everyday life of common people. This work features a peddler with his shoulder pole. The image is roughly divided into two: two-thirds is occupied by the shoulder pole, and one-third by the figure. The style is succinct and simple, and the theme is clearly conveyed. 

The shoulder pole is made up of a single rod, presumably to keep the ropes from tangling or damaging the fruit, which demonstrates the peddler’s carefulness. Two baskets filled with persimmons and a few pomelos indicate that it is a brisk autumn day. One basket contains white persimmons and the other red persimmons. A bucket of water is at the peddler’s feet, and he is holding a persimmon. Freshly harvested persimmons were soaked in limewater to eliminate their astringent taste. However, this process created an off-white layer on the persimmons, and their attractive orange color was only revealed after washing. These routines of the past are vividly captured in this painting. In addition, the portable bamboo stool is distinctive of the times.

There is a fish on the table, a chicken hanging on the wall, and other items such as scallions, vegetables, fruits, and liquor. It is left to the viewer’s imagination as to whether the figure leaning against the table is admiring the sight or thinking about how to use these ingredients. In addition, this figure breathes life into this still life painting, which suggests that Taiwan is a land of plenty.

Chang Wan-chuan is known for his paintings of fish. This may be due to his move to Jinshan, New Taipei City, as a result of the 228 Incident, where he became a fisherman. As he was fond of fishing and eating fish, the fish is placed in the foreground and given eyes, while the human figure’s face is blurry and expressionless. He also accentuates the fish through contrasting colors and variations in light and shadow, portraying everyday life through food. 

Chang Yi-shiung depicted the stellar shape of star fruits and the navels of wax apples from different angles, creating a three-dimensional quality. Along with the fruits, this image includes twigs, leaves, and a vase. Although essentially a still life, the composition is rather unusual. The elements are spread across a tabletop, without overlapping. They are all depicted against the same background color and on the same level, making each a focal point on the same stage. In this oil painting are vivid textures, strong colors, and dark contours. 

Star fruits and wax apples are from Southeast Asia. They were introduced to Taiwan before the influence of the Qing dynasty. Today, they are important export fruits for Taiwan. Even though Chang immigrated to Japan in mid-life and moved to Paris in his later years, Taiwan was always on his mind. The fact that he chose these representative fruits of Taiwan shows his nostalgia for his native land. 

Taiwan’s food culture is intricately linked to temple plazas. This work depicts the exquisitely carved and painted Lungshan Temple in Mengjia (Wanhua) in the background, while a crowd occupies the foreground, indicating the temple’s popularity. A food cart can be seen from which steam rises, suggesting the cooking of delicious food.

This image taken in 1954 conveys a bustling scene. However, the clothing worn by the people in this black-and-white image exudes a sense of bleakness and desperation for religion. Huang Tse-hsiu once said, “Some people think that the Lungshan Temple photo album is gloomy. However, these photos were taken at the peak of the White Terror after the 228 Incident. As such, they are authentic depictions of the darkness and helplessness felt by the people.” The people of that time not only sought to make ends meet, but also pursued inner peace.