Over an extended period, interactions among people inhabiting a certain land and that which they pass down from generation to generation accumulate to form a profound culture embodied by folk customs that later generations can observe through tangible and intangible heritage. In particular, intangible cultural heritage, such as festivals and rituals, might slowly disappear as lifestyles change. In such cases, artists’ creations are necessary for preserving collective memories. 

Artists explore tangible heritage, such as architecture, from different perspectives, describing it through the use of various techniques, and interpreting its beauty. Intriguingly, the swallowtail roof is a common feature of the Spring and Autumn Pavilions in Kaohsiung, Dacheng Hall of the Confucius Temple in Tainan, and the Lin Family Mansion and Garden in Wufeng, Taichung. This roof style was popular in southern China in the early 20th century. Its appearance in paintings reflects the aesthetics of the time, emphasizing the idea of preserving the past through art.

Chiayi Park was a popular leisure destination during the period of Japanese rule. The freestanding red lantern, a common element in Japanese-style gardens, is a characteristic feature of the times. Chen Cheng-po often painted in the park, and created four works, all titled Chiayi Park. This one features a view of Xiao Xihu (Little West Lake) and was designated as an important antiquity by the Bureau of Cultural Heritage of the Ministry of Culture in 2015.

Chen was the first Taiwanese oil painter to participate in the Imperial Art Exhibition (Teiten), which earned him the nicknames “the embodiment of oil painting” and “the first oil painter in Taiwan.” His brushwork shows an unfettered style and a sense of direction, observed in the depiction of the flame tree. Its crown develops horizontally then droops, forming a large hemisphere that replaces the firmament. It looks like a giant guardian protecting the red-crowned crane, Muscovy ducks, and swans in the lake below. Meanwhile, the arch of the tree draws attention to the lake’s ecology, creating an image that is lively and intriguing.

Chen Chin, Lin Yu-san, and Kuo Hsueh-hu were known as the “Three Youths of the Taiten.” Chen was selected to participate in the Taiwan Fine Arts Exhibition (Taiten) several times in the Japanese-style painting category, and honored with the no inspection qualification, meaning that she could exhibit her works without official inspection. One of the few female painters among early Taiwanese artists, she depicted Taiwanese folk customs with elegance and sensibility.

The Spring and Autumn Pavilions were built to commemorate Guan Gong, also known as the god of war. Standing tall, these pavilions are impressive. In this work, they are shown from above and afar. Judging from the golden surface of Lotus Pond, it is dusk. This painter used the large yellow area to soften the rigidity of the structures. Meanwhile, the willow branches in the left foreground add a feeling of tenderness and a finishing touch to the painting. 

In East Asian countries, there is generally a Confucian influence, with many retaining traditional Confucian rituals and ceremonies. In Confucius temples, the main hall is called Dacheng Hall. It is traditionally elevated and has a staircase. In the front is a raised platform, known as danshi, for placing musical instruments and performing the Yi Dance during the Confucius Ceremony. After living in Japan and China for decades, Kuo Po-chuan moved back to his hometown, Tainan, in his golden years, and often took walks and painted near the Tainan Confucius Temple. 

Kuo traveled to Japan to study painting in 1928, and was influenced by the Fauvist style, as observed from his bold, vibrant palette. In this painting, the eye-catching red Dacheng Hall is the focal point. Low red walls extend from both sides of the hall, which not only accentuate its height and presence, but also lead the viewer back to the center along the red lines. Such an arrangement echoes the importance of Dacheng Hall in the Confucius Ceremony. 

The fifteenth day of the first month on the lunar calendar is the Lantern Festival. On this day, people traditionally eat tangyuan (glutinous rice balls) and admire and carry lanterns. This painting depicts the latter activities. These customs create a joyful atmosphere during the Lantern Festival, which is also referred to as the “little New Year.” All the folk and festive activities that commence on Lunar New Year’s Day culminate on this day. 

Early in her career, Lin A-chin was known for her bird-and-flower paintings, making this work rare. Her models were her daughter Kuo Chu-mei and son Kuo Sung-nien, indicating her focus on family at the time. Both children are portrayed carrying traditional paper lanterns, the boy with a classic accordion lantern and the girl with a floral-patterned lantern. Their clothes were made by the artist herself, and the girl’s ear-length bob was a customary style from the period of Japanese rule – thought to prevent head lice. In fact, before the 1980s, most girls had short hair, and students had to follow rules regarding hairstyles.

Traditionally, temples in Taiwan organized activities during the Lunar New Year or on the birthdays of gods. Nearby residents and the public came together to enjoy these festive occasions. Some lasted several days, making them important communal events that brought about a sense of cohesion and provided entertainment. 

In this work, Yuan Jin-ta depicts crowds of people trying to catch a glimpse of the palanquins and the parade amidst the rising smoke from firecrackers. Interestingly, the temple courtyard occupies nearly half of the painting. Perhaps the painter intended to leave the space empty for people to move about or to the imagination of the viewer. From the temple to the background are houses, with a procession of pilgrims along the street, leading to the ships in the harbor and showcasing the artist’s ingenious arrangement of space. 

The Lin Family Mansion and Garden in Wufeng is one of four famous gardens in Taiwan, along with the Lin Family Mansion and Garden in Banciao, Beiguo Garden in Hsinchu, and Wu Garden in Tainan. Starting from the path paved with stones on the lower left side and extending from there, the viewer is invited on a journey through this garden in spring. A closer look reveals canna lilies, water lilies, and daffodils. As the viewer’s line of sight reaches the black door and moves upward, white plum blossoms and a palm tree can be seen beyond the walls. This garden overflows with the essence of spring. 

Reputed as the “Three Youths of the Taiten,” Lin Yu-san, Kuo Hsueh-hu, and Chen Chin were the first group of Taiwanese, who painted in the Japanese style, to be selected for the Taiwan Fine Arts Exhibition (Taiten). This was extremely rare in this Japanese-dominated, competition-based exhibition. Known for his delicate delineation, Kuo first drew the outline of the gate with a thin brush. Then, he stacked one rectangle upon another as if laying bricks to build walls. From the dragon carvings on the door panels to the gourd-shaped window, flowers, and veined leaves, every detail of this refined garden is revealed.