Hsiao Chong-Ray

The import of ink paintings and calligraphy into Taiwan can be traced back to the 17th century, during the Kingdom of Tungning. Across a span of two hundred to three hundred years, these artworks flowed into Taiwan with the number of imports reaching its peak under the rule of Qing Emperor Jiaqing. Among collectors, these works of art from the Ming and Qing periods are referred to as “Taiwan Wenxian.”

Most of Taiwan’s Ming and Qing paintings originate from Fujian, Zhejiang or other areas on the southeastern coast of China. They are painted in the style of early Ming court paintings which are characterized by their free-flowing and bold brushstrokes. When the Ming imperial court was relocated north, aesthetic tastes shifted as well. Court artists disapproved of the “heavy and muddy” paintings of the southern art world. They called these styles Zhe School or Min Habit and saw them as heresy.

Viewed today, however, Taiwan’s Zhe School and Min Habit style paintings aptly reflect the pioneering spirit of the Han Taiwanese people. Characterized by their vigor and unrestrained by orthodoxy, these artworks evoke the “wild spirit” unique to Taiwanese aesthetics and style.