Editing Chinese art (section)

==== Overseas ====

===== Paris =====
Many Chinese artists went to study western art in Paris in the early 1900s, for example: [[Fang Ganmin]] ([[:zh:方幹民|方幹民]]), Wu Dayu ([[:zh:吳大羽|吳大羽]]), [[Ong Schan Tchow]] ([[:zh:翁占秋|翁占秋]]), [[Lin Fengmian]] ([[:zh:林風眠|林風眠]]), Yan Wenliang ([[:zh:顏文樑|顏文樑]]), [[Wu Guanzhong]] ([[:zh:吳冠中|吳冠中]]), [[Zao Wou-Ki]] ([[:zh:翁占秋|趟無極]]). All except Zao completed their education before 1949 and returned to become leaders in the modern art movement. (Zao happened to be in Paris in 1949 and did not return.) Some Chinese artists went to stay there because of the rich international art environment, for example:  [[Sanyu (painter)|Sanyu]], [[Pan Yuliang]] ([[:zh:潘玉良|潘玉良]]), [[Chu Teh-Chun]] ([[:zh:朱德群|朱德群]]). Zao, Sanyu, Pang, and Chu all had shows in Paris and the Republic. All their paintings had varying degrees of Chinese elements in them. These artists not only had a profound influence in Chinese modern art, but they also continued to engage Parisians with modern art from the East.<ref>{{Cite web|url=https://www.scmp.com/magazines/post-magazine/long-reads/article/2059589/three-generations-chinese-artists-whove-made|title=Three generations of Chinese artists who've made Paris home, and how they changed French art|last=Twigg|first=Melissa|date=January 6, 2017}}</ref>
* [http://collection.sina.com.cn/plfx/2018-08-12/doc-ihhqtawx2237359.shtml Zao Wou-Ki, 1959]

===== United States =====
[[Li Tiefu]] (1869–1952) was an accomplished oil painter educated in Canada and the United States. He was an active participant in the revolutionary movement of Sun Yat-sen (1866–1925).

Zeng Youhe {{zhi|c=曾佑和}} (1925–2017)<ref>{{cite web | url=https://www.artforum.com/news/tseng-yuho-1925-2017-73198 | title=Tseng Yuho (1925–2017) | date=December 21, 2017 }}</ref> was born in Beijing. She started receiving international recognition in 1946, when [[Michael Sullivan (art historian)|Michael Sullivan]] began praising and writing about her work. Zeng moved to Honolulu in 1949 and visited Hong Kong and Taiwan in 1960. Like those of the [[Fifth Moon Group]] ({{zhi|c=五月畫會}}), her paintings were abstract; but the flavor of traditional Chinese ink paintings were not as pronounced.
* [http://www.arcadja.com/auctions/en/yu_ho_tseng/artist/440481/ Zeng Youhe, 1961]

===== Taiwan =====
{{Main|Taiwanese art}}
Because of its history, traditional Chinese art does not have strong roots in Taiwan. The art forms in Taiwan were generally decorative, until youths growing up under the Japanese occupation received formal art education in Japan. Not burdened with traditional art form, their exploration generally followed the path of "learning the new methods" ({{zhi|c=學習新法}}). When the Nationalists arrived in Taiwan, a group of ambitious youths who came with the Nationalists continued the modern art movement. The most notable were the [[Fifth Moon Group]] ([[:zh:五月畫會|五月畫會]]) and the Ton-Fan Art Group ({{zhi|c=東方畫會}}).{{citation needed|date=October 2020}}

====== Fifth Moon Group ======
{{Main|Fifth Moon Group}}
[[File:1966 馮鍾睿 1966-49 彩墨紙本 88.5X54.5cm.jpg|thumb|Fong Chung-ray, ink on paper, 1966]]
The original members of the group were alumni with art majors from the Academic Teachers College ({{zhi|c=師範大學}}), the only university with an art major at the time. Their first intention was to show that the effort to create new art was worthwhile in itself, even if it did not directly enhance art pedagogy. Later, it became a movement to modernize Chinese art.

The members of the Fifth Moon Group studied western art movements, and concluded that the abstract art form was the best medium for modern Chinese art. They felt the best the Chinese paintings were ones that de-emphasized realistic representation, and emphasized atmosphere and "vividness", which comes from the brush strokes and the natural interaction between ink and paper. To further that idea, one does not need representation of objects in painting, or strictly use ink and paper. The beauty of a painting can be appreciated directly from the forms, textures, and colors on the canvas without their relation to real objects.
The group was active from 1957 to 1972. The main members are [[Liu Guosong]], Chuang Che ({{zhi|c=莊喆}}), Hu Chi-Chung ({{zhi|c=胡奇中}}), Fong Chung-ray ({{zhi|c=馮鍾睿}}), and [[Han Hsiang-ning]].

====== Ton-Fan Art Group ({{zhi|c=東方畫會}}) ======
The members of this group were students who attended private art classes offered by Li Zhongsheng ({{zhi|c=李仲生}}), a mainland-born artist who had been one of the active participants in the modern art movement. He and a number of mainland artists who painted in a western style continued the modern art movement by publishing magazines and writing articles to introduce modern art to Taiwan. His teaching style was unconventional and socratic in nature.

The original intention of the group was to introduce modern art to the public. They believed there should be no restriction on the form or style of a modern Chinese painting, as long as the painting expressed meaning that was Chinese in nature. The group was active from 1957 to 1971. The main members were: Ho Kan ({{zhi|c=霍剛}}), [[Li Yuan-chia]], Wu Hao ({{zhi|c=吳昊}}),<ref>{{cite web | url=https://artemperor.tw/artist/464 | title=吳昊 }}</ref> Oyan Wen-Yuen ({{zhi|c=歐陽文苑}}), Hsia Yan ({{zhi|c=夏陽}}), Hsiao Chin ({{zhi|c=蕭勤}}), Tommy Chen ({{zhi|c=陳道明}}),<ref>{{cite web | url=http://blog.artlib.net.tw/author_page.php?act=view&ename=tommychen | title=陳道明's 藝術家專屬網站-全球華人藝術網 }}</ref> and Hsiao Ming-Hsien ({{zhi|c=蕭明賢}}). The following are a sample of their paintings from that period:
*[https://www.invaluable.com/artist/ho-kan-1hp6ljccwy/sold-at-auction-prices/ Ho Kan, 1967]
*[https://www.tumblr.com/search/hsia%20yan Hsia Yan, 1965]
* [https://www.desarthe.com/artist/hsiao-chin.html Hsiao Chin, 1955] {{Webarchive|url=https://web.archive.org/web/20190719193251/https://www.desarthe.com/artist/hsiao-chin.html |date=July 19, 2019 }}