The exhibition has finished
Their Era: The 92nd Annual Taiwan Fine Arts Exhibition
A Burst of Light—A Chen Chih-chi Retrospective
Date: Sep 1 to Dec 1 ,2019
Opening Hours: 10:00 to 17:00, from Tuesday to Sunday
Closed Day: Every Monday
Venue: National 228 Memorial Museum（No.54, Nanhai Rd., Zhongzheng Dist., Taipei City 100, Taiwan）
Advised by the Ministry of the Interior, Taiwan
Organized by the Memorial Foundation of 228, National 228 Memorial Museum
Special thanks to: Chen Tzu-chih, Yeh Hsu-fen, Li Chin-hsien, Chiu Han-ni, Suzuki Eka, Yen Chuan-ying, Ni Po-chun, Li Tsung-che, the Chen Cheng-po Cultural Foundation, the Yang San Lang Culture and Education Foundation, and the Chiang Wei-shui Cultural Foundation
The creation of contemporary Taiwanese art
Chen Chih-chi was among Taiwan's first generation of Westernized painters. Born January 1906, Chen Chih-chi passed away in April 1931. He was 26 years old. His life was like a burst of fireworks: exploding on the scene, dazzling in its glow, only to quickly disappear into the night. We celebrate Chen Chih-chi not only for his brilliant use of oil painting through which he expressed his intensely personal aesthetics, but for his abundant participation in various Taiwanese art groups and societies, as well as for his public talks and published articles on the topic of Taiwanese national consciousness. With “the creation of contemporary Taiwanese art” as a goal, Chen Chih-chi stands as one of history's most representative figures during the period of national consciousness and cultural awakening that characterized colonial Taiwan in the 1920s.
In April 1938, the 4th Tai-yang Fine Art Exhibition—held in what is today known as the Former Taiwan Education Hall—featured two special exhibits: sculptures of the late Huang Tu-shui and six paintings by Chen Chih-chi: Zhen Ren Temple, Portrait of My Grandfather, Danshui Landscape, Portrait of a Woman, and Still Life. More than 80 years since the date of that exhibition, these six paintings have, once again, been brought together, along with letters, newspaper articles, and photos from the era to help the viewing public better understand Chen Chih-chi's thoughts on Taiwanese identity and consciousness, as well as appreciate his undeniable contribution to the field of fine arts in Taiwan.
The building that currently houses the National 228 Memorial Museum was constructed in 1931 during the period of Japanese colonial rule. Following the end of WWII, it became offices for the Taiwan Provincial Council and a historic landmark closely associated with pursuit of democratic ideals and the 228 Incident. Later the building was to be managed by the Taiwan Education Association, which counted among its duties the organization of the Taiwan Fine Art Exhibition and providing a venue for the Taiwan Governor's Office Fine Art Exhibition. Altogether, five Taiwan Fine Art Exhibitions and four Governor's Office Fine Art Exhibitions were held in the hall. Exhibiting the works of many of Taiwan's leading artists, the building played an oversized role in the development and popularization of contemporary fine arts in Taiwan. The choice of the National 228 Memorial Museum as the site for this Chen Chih-chi Retrospective is a nod to both the building's and Chen's undeniable importance in the cultural and political history of Taiwan.
Altogether this exhibition features 18 paintings by Chen Chih-chi. It includes the six paintings part of the 4th Tai-yang Fine Art Exhibition of 1938, as well as a number of works from other exhibitions. Chen Chih-chi's Government-General Building and his teacher Ishikawa Kinichiro's Governor's Office, Taipei stand together, while Chen Chih-chi's Zhen Ren Temple and Ni Chiang-huai's painting of the same name are presented side-by-side in recollection of the pair's deep friendship. Also part of the exhibition are letters from home, newspaper clippings, and postcards. Period-specific background material and newspaper reporting offer an introduction to the era in which Chen lived, while 27 articles written in the Taiwan Daily News regarding Chen Chih-chi give us a glimpse into how the artist's life and efforts were received at the time.
This exhibition also aims to explores the life of Chen Chih-chi—from his awakening as an artist, being expelled from school and leaving Taiwan to study painting at the Tokyo Fine Arts School, to his artistic achievements in Taiwan and Japan, and his efforts to gather and teach Taiwanese artists through the founding of and participation in various art groups and societies. In addition to his contributions to the world of art, Chen was also deeply engaged with Taiwan's national movement. He would often travel between Japan and Taiwan in an effort to help progress Taiwanese cultural identity and national consciousness, to the point that he soon found himself trailed by police authorities in both Taiwan and Japan. Regardless of the surveillance he found himself under, Chen Chih-chi never let up in his efforts to elevate the standards of Taiwanese culture, and never gave up in his search for a Taiwanese national identity. His life of dedication is truly a model that continues to inspire and instruct Taiwan's art world.
1906 (Meiji 39)｜Birth
1913 (Taisho 2)｜Age 8
1915 (Taisho 4)｜Age 10
1921 (Taisho 10)｜Age 16
1924 (Taisho 13)｜Age 19
1925 (Taicho 14)｜Age 20
1926 (Taisho 15)｜Age 21
1927 (Showa 2)｜Age 22
1928 (Showa 3)｜Age 23
1929 (Showa 4)｜Age 24
1930 (Showa 5)｜Age 25
1931 (Showa 6) ｜Age 26
1932 (Showa 7)
1934 (Showa 9)
1935 (Showa 10)
1938 (Showa 13)
1925~1930｜Oil paint on wood｜21×27 cm
Portrait of My Grandfather
1931｜Oil paint on canvas｜45×52.5 cm
1930｜Oil paint on wood｜33×24 cm
1924｜Oil paint on canvas｜27.2×36.4 cm
Chen Chih-chi's mentor Ishikawa Kinichiro completed his watercolor painting of the Governor-General's Office (today's Presidential Office) in 1920, a year after the building had been finished in 1919. Using a soft watercolor scheme, the Governor-General Office is shown from a distance. It stands framed by trees to either side thereby focusing the viewer's attention on the central tower.
Chen Chih-chi's oil painting version, completed in 1924, echoes this creative concept and layout. At the time, Chen was studying at Taihoku Teacher's College. Following a student uprising at the school and the mass arrests of the Police Incident, he recognized the power and authority wielded by the Japanese government and thus chose to place the looming, central tower front and center.
Governor's Office, Taipei
Ishikawa Kinichiro｜Watercolor on paper｜34×25 cm
Persimmons in Hexagonal Dish
1925~1930｜Oil paint on wood｜33×23.5 cm
Park Entrance｜3rd Chi-Hsing Painting Society Exhibition selection
1928｜Oil paint on canvas｜60×50 cm
1925｜Oil paint on canvas｜53×46cm
Taipei Bridge, which spanned the Danshui River between Taipei and Sanchong, was completed in June 1925. In addition to serving as an important transportation link between Taipei and Sanchong, the bridge very quickly became an important city landmark. That same year, Chen Chih-chi, who was studying at Tokyo Fine Arts School, returned to Taiwan over summer break to paint the bridge. The painting looks from Sanchong in the direction of Taipei's Dadaocheng and is painted from the vantage point of the river's sandbanks from which we see the bridge's large, red iron trusses, sailboats on the river, and several buildings on the far shore.
LI Shih-Chiao｜1927｜Watercolor on paper｜47×32 cm
1927｜Oil paint on canvas｜52.5×45 cm
Chen Chih-chi's still lifes not only exhibit keen powers of observation, but also display a distinctive personality and interests both common and cultured. This piece is set off by a red backdrop—a motif often found in Chen's works. In the foreground stands a ceramic statue of Bodhisattva Guanyin, a doll with a black body and red face, a bamboo basket, and several persimmons—all of which have been placed on a traditional du duo embroidered by Chen's mother. Several of these items are still extant today.
Still Life on a Table｜2nd Taiwan Fine Art Exhibition review-exempt selection
1928｜Oil paint on canvas｜72×60 cm
Zhen Ren Temple｜4th Taiwan Fine Art Exhibition review-exempt selection
1930｜Oil paint on canvas｜100×80 cm
Chen Chih-Chi and Ni Chiang-huai (Zhen Ren Temple)
Zhen Ren Temple was a temple found in Taipei during the Japanese colonial period. The temple was located in Kensei-cho (on today's Tianshui Street, near Jiancheng Circle). Near the end of November 1924, Chen Chih-chi was expelled from school due to his part in student protests. After his expulsion, he spent much of his time at Chiang Wei-shui's Taiwanese Cultural Association until he was to leave for Japan in February 1925. In 1927, Chiang Wei-shui, Ling Hsien-tang and others left the Taiwanese Cultural Association to found the Taiwanese People's Party—Taiwan's first political party. The party's headquarters was established in 1930 in a building next to Zhen Ren Temple. Furthermore, the year earlier, Chen Chih-chi's good friend Ni Chiang-huai founded the Taipei Western Painting Institute (renamed Taiwan Painting Institute in 1930) in a building not far from Zhen Ren Temple. Therefore, there was considerable meaning behind Chen's use of this traditional cultural landmark as the focus of his composition.
After Chen Chih-chi passed away in 1933, Ni Chiang-shui painted the same temple from the same vantage point as in Chen's work in remembrance of his good friend who had passed too soon.
Zhen Ren Temple
Ni Chiang-huai｜1933｜Watercolor on paper｜48.5×33 cm
Banana｜2nd Shōtoku Taishi Hōsankai Exhibition selection
1930｜Oil paint on canvas｜90.5×72.5 cm
Keelung Train Station
1928｜Oil paint on canvas｜90.5×72.5 cm
Portrait of My Wife
1927｜Oil paint on canvas｜64.5×91 cm
Chen Chih-chi married Pan Chien-chien in Showa 2 (1927). This painting was done the same year the couple married. In the background hangs a scarlet red traditional wedding gown, while Pan Chien-chien sits in the foreground wearing a white, embroidered dress while holding a fan that covers her pregnant belly. In the bottom left corner “Summer of Ding Mao, Chen Chih-chi” is written in fine red ink.
Brick Kiln Factory
1925｜Oil paint on canvas｜65×50 cm
1925~1930｜Oil paint on canvas｜90.4×71.5 cm
1925~1930｜Oil paint on canvas｜90.5×72.5 cm
Danshui Landscape｜11th Japanese Imperial Fine Art Exhibition selection
1930｜Oil paint on canvas｜100×80.5 cm
In this painting we see expressed Chen Chih-chi's long familiarity with the environment and local conditons around Danshui. Using parrell, short strokes of the brush, Chen slowly builds up the composition to depict an intricate warren of buildings and lush vegetation all perched on a hillside. It is said that this piece was orginally in the collection of Taichung's Yang Chao-chia, but returnd to Chen Chih-chi's family soon after Chen's death.
Takinogawa Landscape｜4th Shinkaijusha Exhibition selection
1925~1927｜Oil paint on canvas｜53×65 cm
This piece was painted in the period between 1925 and 1927 during which Chen Chih-chi was living in Takinogawa as a student of Tokyo Fine Arts School. Chen choose to reside in Takinogawa as it was not far from the Tokyo Fine Arts School, as well as being close to Tabata-cho where Yoshimura Yoshimatsu's private painting studio was located. It is no surprise, therefore, that Takinogawa's streets, multi-storied buildings, and channels were often featured in Chen's paintings.
A Youth from Hengke with an Unyielding Temperament
A leader and proponent for social justice
Chen Chih-chi was born January 1906 in the area of Hengke in Taipei's Xizhi District. Chen's family had lived in the area for several generations as landowners and farmers. Heavily influenced by his grandfather, Chen enrolled in a local private school at the age of eight where he learned to read and write Chinese, as well as study the Chinese classics.
In 1914, Chen Chih-chi enrolled in the Nangang branch of Xikou Public School where he was exposed to a modern, westernized curriculum. Tall and thin, Chen was an enthusiastic student who carried an air of leadership and was both a popular and influential figure on campus. In 1921, Chen tested into the elite Governor-General's Taihoku Teacher's College (today's University of Taipei).
Amidst school studies, an opportunity to study painting
In 1924, Ishikawa Kinichiro was invited to teach in Taiwan and became a painting teacher at Taihoku Teacher's College. Ishikawa established a sketching club at the college that met on weekends. Members of the club included both Chen Chih-chi and Ni Chiang-haui, with the two young men soon becoming fast friends.
Student protests lead to class boycott and expulsion
In February 1922, an incident in which two Taiwanese students of Taihoku Teacher's College violated left-hand traffic rules set off the school's first student movement. The students, who later faced trial in court, would receive assistance from Taiwanese Cultural Association members Lin Hsien-tang, Chiang Wei-shui, and Yang Chao-chia. Following, in December 1923, under a directive of the Governor-General's Office, figures of Taiwan's nationalist movement were rounded up in a mass arrest for contravening the Public Order and Police Law. Observing the continued repression by the Japanese authorities, the seeds of an anti-authoritarian consciousness, as yet unexpressed, began to grow in Chen Chih-chi's heart.
In November 1924, Taihoku Teacher's College began planning its annual student field trip. Ignoring the wishes of the Taiwanese who composed a majority of the study body that the trip head south, the school instead adopted the request of its Japanese students to visit Ilan on Taiwan's east coast. Taiwanese students expressed their displeasure to school president Shihota Syōkichi to no effect. As a result, Chen Chih-chi led a group of fourth year students in a class boycott on November 18. Response by the authorities was swift and on November 28, Chen and 30 other students were expelled. However, this was to be an important turning point in Chen's life.
Chen Chih-chi's family home in Xizhi, Hengke (circa 1920)
Chen Chih-chi's New Year's calligraphy featuring Li Bai's “Banqueting in Peach Flower Garden: A Preface” composed in clerical script (January 1, 1924)
Ishikawa Kinichiro and students of the Taihoku Teacher's College sketching club
A sketch of Chen Chih-chi done by his good friend Ni Chiang-huai
First council meeting of members of the Taiwanese Cultural Association (1921)
The January 1, 1925 (Daisho 14) edition of The Taiwan Minpao featured two articles on the school trip controversy at Taihoku Teacher's College: (bottom right) “Students' Sorrow and Painstaking Efforts by Xue Gu” and (top left): “A Few Thoughts on the Class Boycott at Taihoku Teacher's College.” In the first article, Xue Gu refers to Chiang Wei-shui as the article goes on to discuss the expelled students being boarded at Daan Hospital, while parents hope to negotiate with the school principal to rescind the expulsion order.
An article published in February 21, 1925 (Taisho 14) in The Taiwan Minpao entitled Aspiring Young Students to Travel Abroad for Study.
The article details the assistance extended by the Taiwanese Cultural Association to students expelled from Taihoku Teacher's College following a class boycott, as well as the farewell reception hosted by the Association for the boys prior to their leaving to study overseas. The article mentions Chen Chih-chi as offering a thank-you speech during the reception.
Chen Chih-chi had a habit of colleting newspaper clippings. These clippings come from newspaper articles published on February 21 and 22, 1925. The articles discuss the decision of the supreme court regarding those recently arrested for violating the Public Order and Police Law (above) and news of Chiang Wei-shui being taken into custody (below). At the time, Chen was already in Tokyo. These clippings show that, despite being overseas, Chen continued to closely follow the happenings of the Taiwanese nationalism movement.
A Period of Study and Responsibility in Japan
Timely assistance from mentor Ishikawa Kinichiro
In the months following the student uprising at Taihoku Teacher's College, Chen Chih-chi pondered his next step. His teacher, Ishikawa Kinichiro, who had high hopes for Chen as an artist, paid a visit to the Chen family home to ask Chen's parents for help in sending their gifted son to Japan. In February 1925, Chen set off for Japan to begin prepping for enrollment at Tokyo Fine Arts School (today's Tokyo University of the Arts).
Studying in Japan
Arriving in Tokyo in February 1925, Chen passed the school's entrance exam in April and soon after enrolled in the Western Painting Program of Tokyo Fine Arts School. During his studies, he rented a room in Tokyo's Takinogawa district. Passionate and dedicated, he supplemented his art studies with classes at Yoshimura Yoshimatsu's private painting studio. Although money was tight and life overseas hard, Chen was untiring in his efforts. He set for himself the lofty goals of selection to the Japanese Imperial Fine Art Exhibition and making a name for himself in the art scene. In one of his letters to home, he wrote: “In order to survive as an artist, selection for the Japanese Imperial Fine Art Exhibition is paramount; otherwise, my life will be no different from that of a beggar.”
In January 1927, Chen took advantage of the new year's holidays to return to Taiwan and marry his fiancée Pan Chien-chien—second daughter of Shilin Village mayor Pan Kuang-kai. Later that month, Chen returned to Japan to continue his studies accompanied by Pan Chien-chien. In December, the couple had their first son, Chen Chao-yang. Altogether, the couple lived in Tokyo for close to a year. During this period, Chen finished several portraits in which his wife sat as a model.
In November 1927, Chen Chih-chi became a member of the Tokyo Overseas Chinese Student YMCA. He was also in frequent contact with the founders and members of the Tokyo New People Society, Taiwan Youth Association, and Taiwanese Cultural Association. These relationships meant that Chen was under constant surveillance by Japanese police—both in Taiwan and Japan. Despite this, his commitment to the improvement of the state of Taiwanese cultural consciousness remained undiminished.
Unflinching in his duty to help his countrymen
Born to a wealthy family, Chen Chih-chi, a natural leader, often went out of his way to help his fellow artists and countrymen. Many Taiwanese painters, including Li Mei-shu, Li Shih-chiao, Hong Jui-lin, and Chang Wan-chuan received assistance from Chen during their stays in Japan. In 1955, Li Shih-chiao published an essay entitled “Sour, Bitter, and Sweet” in the 1955, Volume 3, Issue 4 publication of Taipei Artefacts titled Art and Sports: A Special Issue. In it he writes: “… after I arrived in Tokyo, during the two years I was there, we spent much time together. He was a teacher and a mentor. His influence was continuous. This marked one of the most important periods of my career.”
Identity certificate carried by Chen Chih-chi as he prepares to study at Tokyo Fine Arts School in 1925
Chen Chih-chi sits facing an easel with brush in his hand surrounded by classmates from Tokyo Fine Arts School
November 29, 1928. Chen Chih-chi pens a letter to his wife Pan Chien-chien writing that he faces extreme economic hardship in Japan and asks for financial help. He also notes: “In order to survive as an artist, selection for the Japanese Imperial Fine Art Exhibition is paramount; otherwise, my life will be no different from that of a beggar.”
A group picture taken with Taiwanese overseas students during Chen Chih-chi's time at Tokyo Fine Arts School: Front row (left to right): Yen Shui-lung, Liao Chi-chun, Pan Chien-chien, Chen Chih-chi. Back row (left to right): Chang Chiu-hai, Fan Hong-chia, Chen Cheng-po, Chen Cheng-fan (far right). Photo insert: Wang Pai-yuan.
In 1926, Chen Chih-chi's work was selected for both the Shinkaijusha and Kofukai Annual Exhibitions, which were held by research art groups unaffiliated with the Tokyo Fine Arts School. Starting in 1927 and every year following, Chen Chih-chi's works were selected for the Taiwan Fine Art Exhibition. His paintings were often given review-exempt and special-selection status—the highest honors awarded by the exhibition. In 1928, Chen finally broke into the highest levels of Japan's art scene when his Taiwan Landscape was selected for the 9th Japanese Imperial Fine Art Exhibition. In 1930, he was once again selected for the 11th Japanese Imperial Fine Art Exhibition with Danshui Landscape.
Emphasizing Taiwanese identity in fine arts, helps found the Chi-Hsing Painting Society, Chidao Association, and Taiwan Painting Institute
In September 1928, Chen Chih-chi published an essay in the Taiwan Daily News entitled “To the Artists of Taiwan.” In it, he encouraged artists to pay further attention to the uplifting of Taiwanese consciousness and “to creating a Taiwanese fine arts scene epochal in its ethos.”
In 1926, Chen Chih-chi, along with Chen Cheng-po, Ni Chiang-huai, Lan Yin-ding and three others formed the Chi-Hsing Painting Society, creating the first fine arts association in Taiwan to be founded and run by Taiwanese. However, the society was dissolved in 1928. Under the concept of the “instilling sincerity and nourishing the island's residents with the power of art” the Chidao Association was formed in its place with Chen Cheng-po, Lan Yin-ding, Liao Chi-chun, Kuo Po-chuan, and Yang San-lang among the founding members. At the end of August 1929, the Chidao Association held its first exhibition. Also in 1929, Ni Chiang-huai founded the Taipei Western Painting Institute near Taipei Circle. The name of the institute was changed to the Taiwan Painting Institute in 1930 and set as its focus the education of young students interested in art and the organization of summer lectures and classes.
Newspaper clipping saved by Chen Chih-chi from October 28, 1927. The article published in the Taiwan Daily News and entitled “The Beginning of the Taiwan Fine Art Exhibition” discusses the opening ceremony of the 1st Taiwan Fine Art Exhibition and works selected for the exhibition.
July 1, 1929. Dinner celebrating the founding of the Taipei Western Painting Institute at Taipei's Peng Lai Ge Restaurant. Participants include (right to left): Lan Yin-ding, Chen Chih-chi, Chen Ying-sheng (standing), Ishikawa Kinichiro, Ni Chiang-huai, Hong Jui-lin, and Chen Te-wang.
The July 14, 1930 edition of Taiwan Daily News featured a focus article on the Taiwan Painting Association. Entitled “Taiwan Painting Association is Born” the article includes a photo of class being taught at the Association. Instructing on the left is Chen Chih-chi and to the right is Yang San-lang.
In March 1930, Chen Chih-chi returned to Taiwan after graduating from Tokyo Fine Arts School. However, his prior participation in student and social movements meant he had a hard time finding a job. Hoping to study in Paris, the capital of avant-garde art at the time, Chen threw himself into producing new works to save up funds for a study abroad.
The same year in August, Chen Chih-chi set off for Japan carrying paintings selected for the upcoming Japanese Imperial Fine Art Exhibition. On the day of his departure, the Xizhi River flooded its banks and Chen and his traveling companion, Chang Wan-chuan, were forced to wade through flooded streets until they arrived at Nangang Train Station for a train to Keelung Port where their ship was waiting. Soon after arriving in Tokyo, Chen contracted pleurisy and was hospitalized. Fortunately, he had Li Shih-chiao, Li Mei-shu and others to look after him during his convalescence.
In March 1931, Chen returned to Taiwan and celebrated the birth of his daughter, Chen Shu-ju, on April 3. Unfortunately, his pleurisy returned and he was hospitalized at Taihoku Imperial University Hospital (today's National Taiwan University Hospital). During his treatment, he wrote to his wife: “My favorite thing, above all else, remains painting. Even if painting is to kill me, I have no regrets. When we act on what we love in life, questions of life and death can be easily put aside. We should live with passion and with positivity, only then will our lives have meaning.” On April 13, Chen Chih-chi passed away in his home in Xizhi. He was 26 years old.
“The sage is long gone, but his example remains”—A posthumous exhibition as friends, family, and teachers remember Chen Chih-chi
On April 15, 1931 a memorial for Chen Chih-chi was held at Taipei's Nishi Hongan-ji Temple (formerly located on Zhonghua Rd. in Ximending. Present location of Taipei City Archives). That same year in September, a posthumous exhibition of Chen's work was organized by Ishikawa Kinichiro, Shiotsuki Tōho, and Ni Chiang-huai. On the exhibition's opening day, Ishikawa Kinichiro published a memorial article in Taiwan Daily News entitled “The Artistic Career of Chen Chih-chi.”
In 1934, the Tai-yang Arts Association was founded. In April 1938, the 4th Tai-yang Fine Art Exhibition was held in Taipei's Taiwan Education Hall (today's National 228 Memorial Museum) and featured a posthumous retrospective of the works of Huang Tu-shui and Chen Chih-chi. The year following (1939), the Chen Chih-chi Scholarship was established by Chen's family to support Taiwan's up-and-coming painters.
Chen Chih-chi's artistic output stretched over a period of 7 years. During that time, he boldly experimented with new brush strokes and color schemes. The content of his paintings heavily featured natural scenes from Taiwan, as well as Taiwanese cultural landscapes and traditions. Chen Chih-chi was among the first generation of Taiwanese artists to experiment with a personal style and to work towards ushering in a new artistic era in Taiwan. Concentrating the strength of the local populace, he promoted and founded local art groups and popularized fine arts education across the island. His work and its results serve as model for the generations of artists that have followed.
Tokyo Fine Arts School Alumni Association Journal Volume 29, Issue 1. Published in April 1930, the journal totals 27 pages in length (including table of contents). In it, Chen Chih-chi is listed as a graduate of the school's Western Painting Program with Vermillion Shirt as his graduation piece.
A posthumous exhibition of Chen's work was held by Ishikawa Kinichiro, Shiotsuki Tōho, and Ni Chiang-huai on September 11, 1931 at the former Governor-General's Office (today's Taipei Zhongshan Hall). In total, 82 works of Chen's were exhibited. On opening day, Ishikawa Kinichiro, writing under the pseudonym Yoshikazu Lushan, published a memorial article in Taiwan Daily News entitled The Artistic Career of Chen Chih-chi.
The Tai-yang Arts Association held the 1st Tai-Yang Fine Art Exhibition at Taiwan Education Hall (today's National 228 Memorial Hall) in 1935. This exhibition was organized entirely by private groups, as opposed to the Taiwan Fine Art Exhibition which was organized by the government.
This group photo was captured on the second floor balcony of the Taiwan Education Hall building and features (from right to left): Chen Cheng-po, Li Mei-shu, Chen Chun-te, Chen Chih-chi's widow Pan Chien-chien, Chen's son and daughter Chen Chao-yang and Chen Shu-ju, husband and wife Yang San-lang and Hsu Yu-yen and their daughter, and Li Shih-chiao
April 1938. Artists of the 4th Tai-yang Fine Art Exhibition gather for a group portrait in front of the Taiwan Education Hall. (Photo taken on second floor of Taiwan Education Hall, today's National 228 Memorial Museum)
(From right to left): Chen Chun-te, Lu Chi-cheng, Yang San-lang, Li Mei-shu, Li Shih-chiao, and Chen Cheng-po
Taiwan Daily News had the largest and longest circulation of any newspaper in Taiwan during the period of Japanese colonial rule, with publication running from May 1898 to April 1944. Starting from 1926, with his first exhibition submissions, by 1938, Chen Chih-chi had been featured in close to 60 articles and was at one point referred to as “Miracle Boy” by the paper.