【RTI】Stories Behind the Art (8) Lu Tieh-chou～BackyardLu Tieh-chou was born in 1899 in the Daxi district of Taoyuan city. After graduating from Daxi Public School in 1913, he went on to enroll at the Taiwan Governor General Office Industrial Institute but took a leave of absence after two years. In 1920, he served as a member of the council in charge of Daxi Street affairs. In 1923, Lu moved to Dadaocheng and opened an embroidery shop. He went to Kyoto, Japan in 1928 to further his artistic studies before returning to Taiwan two years later. Lu died in 1942.
【RTI】Stories Behind the Art (7)【RTI】Stories Behind the Art (7)
【RTI】Stories Behind the Art (6) Huang Tu-shui～Water BuffaloesiHuang Tu-shui was born in 1895 in Monga, Taipei. A wood carving graduate at the Tokyo Fine Arts School, Huang held his first solo exhibit in Taipei in 1927. He died in Japan three years later.
【RTI】Stories Behind the Art (5) Shiotsuki Toho ～ Portrait of a Girl, MusyaShiotsuki Toho paintings, due to changes in society and culture, and to the passing of time, are now very few. There are few that can be found in Taiwan. It’s good that the Taipei Fine Arts Museum has two of them.
Shiotsuki Toho’s portraits of Atayal girls were a 1930’s Portrait of a Girl and a painting called Musya from 1931-1932. It’s the image of a girl from the Seediq tribe playing the harmonica.
During that time, Shiotsuki Toho painted many portraits of Atayal girls, especially of young girls. They represent the vibrant spirit of aborigines, their down to earth spirit and naivete. That is what he painted.
Even more interesting is his work exhibited in 1932 called Mother. It depicts the 1930 Wushe Incident, the Japanese slaughter of the Seediq tribe. Shiotrsuki Toho used this image of a mother to express his sadness towards the incident, or perhaps his protest.
If we take the Taipei Fine Arts Museum’s Portrait of a Girl and Musya, and what we cannot see, what has disappeared, to join an exhibit of that giant Mother…with this work, we can see Shiotsuki Toho is of the beastly type. He uses a wild style of painting. He uses strong colors – red, black and white. These strong colors and color blocs are expressive. His strong emotions are displayed on the image.
Despite having a naïve heart, respect is shown for this brave Atayal girl. We can see in very few paintings, in very unclear, very small images, we can still see her strength. He uses very pure and simple colors, very clean images, a very simple portrait of a person, but it can display her heart, her strength, the expression of her inner emotions.
The Wushe Incident, this mother’s face, it’s very difficult to find a good print. But from the many lines on her expressions, we can see it. The Atayal woman is a strong mother. Despite the major tragedy, she is not the least bit anxious. If it looks like she wants to say something, perhaps it is a protest, the desire to speak and end things.
So from the look in the eyes of different women portrayed in Shiotsuki Toho’s works, whether he is able to paint her eyeballs, or unable to, for example, the girl Sayon from a tribe in South Austalia in Sayon’s Bell, her eyes are almost completely black. In that simple image, the eyes can speak.
Artists can depict a person’s inner spirit. We can use this type of analysis for these small paintings.
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