Located at the intersection of tropical and subtropical monsoon climate zones, Taiwan enjoys comfortable weather and abundant precipitation. Additionally, this island is situated at the junction of two tectonic plates with diverse types of rock forming different types of soil. Rain and fertile soil provide ample nutrients for this island’s organisms, which through their interactions and life cycles create a complex ecology.

Different shades of green and white constitute the main tones of this painting, which exudes a fresh delicate atmosphere. In the foreground, one can see a plum tree with snow-white blossoms, tall upright bamboo, and a black and white cow in front of a lodge on the slope, creating a sense of leisure. A winding path extending towards the mountains leads the viewer’s eye to the background, first to another lodge and then to the verdant forest and the sky. This orderly arrangement gives a feeling of richness without being too complex.

Painted in 1947, Farmland portrays pastoral life common in an earlier time in Taiwan. One can imagine how tranquil and relaxing life was back then. The soft palette also displays Chen Yung-sen’s sentiments for his native land. What is special is that the painter incorporates Western oil painting brushstrokes in this Eastern gouache painting, creating small dots on cotton paper to produce a hazy effect emblematic of the plein-air style.

Hsu Chen-chou started studying painting in 1936 during the period of Japanese rule. As a result, his style was considerably influenced by “nihonga,” or Japanese-style painting, and contains many of its classic elements. For instance, this Eastern gouache painting depicts natural scenery. The diptych composition imitates a folding screen, a format of the “shouhekiga” (painting on partitions, interior walls, or traditional sliding doors). 

The right panel features golden sorghum spikes, indicating that it is autumn. As the spikes droop, the viewer’s line of sight is directed to the cat in the lower left corner. The cat, in turn, looks upward and to the right, at a grasshopper jumping, creating an intriguing, vivid sense of movement between the two. Above the grasshopper, there are once again spikes of sorghum, bringing the line of sight to the right. Overall, this painting is well-balanced, lively, and interesting. 

The plum blossom, orchid, bamboo, and chrysanthemum are collectively known as the “Four Gentlemen” in Chinese art and favored subjects of cultured and learned individuals. They are often depicted in conjunction with birds and flowers in the tradition of Eastern gouache painting. Lu Meng-jin, known for painting these subjects, demonstrates superb brush techniques in the depiction of orchids in this painting. 

This work features white Dendrobium orchids. Regardless of the variety, all orchids have tangled roots, thin but resilient long stems, strong leaves, and buds waiting to bloom. The roots, stems, leaves, buds, and blooms are each depicted with a distinctive attitude. Lu not only portrays the orchids, but also two tiny bees that serve to enliven the image. The buzzing bees further highlight the allure of the orchids. The distinctive colors from natural mineral pigments display the unique charm of Eastern gouache painting.

Coconut trees laden with fruit have delicate fronds with thin long leaflets and trunks with vivid patterns, making this a realistic still life. Although only the upper part of the trees is seen, the expansive sky and floating clouds in the background, together with the flying birds, suggest that they are tall. The flock of birds, with their wings spread in flight, although a relatively small component of the painting, adds a sense of movement and livens up the painting. The color scheme mainly includes brown, yellow, green, and blue, which is rather refreshing. 

Born in Chiayi, Huang Shui-wen was fond of pastoral themes, which resonated with the emphasis on “local color” in Taiwanese art during the period of Japanese rule. In particular, paintings depicting tropical scenes in the south were favored by the Japanese. This trend was further popularized by the Taiwan Fine Arts Exhibition (Taiten) and became the mainstream.

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 painting was awarded the special jury award at the Taiten in 1930, and recognized as a national treasure by the Bureau of Cultural Heritage of the Ministry of Culture in 2015.

Lin painted from real-life observation, especially local customs. This painting accurately portrays the life cycle of lotus flowers, from budding to blooming and withering, with dewdrops on the buds and petals floating on the surface of the pond. Meanwhile, gold was used for the mud, indicating that it is dawn and creating a unique atmosphere. An egret strolls in the pond, forming ripples which catch the eye, as the viewer becomes immersed in this elegant work. This artist masterfully constructed a sense of space. Although only a few lotus flowers are in full bloom, and some are blocked by leaves, they are enchantingly beautiful.

Born in the late 19th century, Lu Tie-zhou was one of the pioneering figures of Japanese-style painting, which he studied in Japan. After returning to Taiwan, he won numerous awards at the Taiwan Fine Arts Exhibition (Taiten), and taught innumerable students. Both Hsu Chen-chou and Lu Meng-jin, whose works are also showcased in this unit, were his students.

Lu sketched what he observed. In this work, he used at least four different plants, introducing a sense of biodiversity and creating a suitable background for the subject – the sika deer, an endemic subspecies in Taiwan. The stag, facing left, gazes frontward with its bright eyes. The doe faces right, with its head down, nibbling on leaves and guarding the opposite direction from the stag. The fawn, staying close to the doe, feeds on its mother’s milk. This depiction highlights that the sika deer is a gregarious species.