Taiwan : art and civilisation [PDF]

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Taiwan Art and Civilisation



Designed by: Baseline Co Ltd 127-129A Nguyen Hue Fiditourist 3rd Floor District 1 Ho Chi Minh-City Vietnam



Project manager: Dr. Hsiu-Huei Wang © Confidential Concepts, for the present edition, USA © For the present edition, Parkstone Press International, New York, USA © All pictures from the Taiwan National Cultural Association © English translation by Taiwan National Cultural Association All rights reserved worldwide Published by Parkstone Press International An imprint of Confidential Concepts Taiwan National Cultural Association 15 Chungking South Rd. Section2, Taipei 100, Taiwan Secretary General: Ms Yu-Chiou Tchen



ISBN: 978-1-78042-987-8



No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lie with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where it is the case we would appreciate notification.



Taiwan Art and Civilisation



Contents An Invitation: Knowing and Appreciating Taiwan’s Beauty



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I



More than Thirty Thousand Years of History



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II



A Natural Miracle



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III Architectural Style and Culture in Transition



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IV Flourishing Performing Arts and Traditional Life



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V



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Vigorous Visual Arts



Index of Artists



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List of Illustrations



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Photographical Credits



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Sky Lanterns



An Invitation Knowing and Appreciating Taiwan’s Beauty



By Tchen Yu-chiou Secretary General, National Cultural Association



I



n the last forty years, studying and working have given me the chance to make innumerable trips abroad. Among the foreigners I have met, many have been to or heard of my country Taiwan, while some do not even know where Taiwan is, or what kind of country it is. But when they hear me describe or introduce Taiwan, they often say something like: “Is that so!” or “Oh, spectacular, I didn’t know that!” Yes, Taiwan is indeed a place full of surprises, a mesmerizing island. This island nation, occupying only 36 000 square kilometers, once implemented martial law for 38 years, the longest period of martial law in the world. During this period, due to its people’s hard-working nature, Taiwan became one of the world’s largest textile producing nations in the 1970s, and one of the leading computer products manufacturer in the 1990s. Entering the twenty-first century, Taiwan, with its population of 23 million,



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An Invitation



is the sixteenth world economy in terms of GDP and third in its foreign currency reserves. Its competitiveness stands at number 13 among 125 countries, according to the “2006-2007 Report on Global Competitiveness” of the World Economic Forum. The second impressive thing about Taiwan is its natural environment and culture. Taiwan’s geographical location is special, helping create a diverse natural scenery and ecology. Not only are plants from many different climatic zones represented; their habitat and species diversity are also uncommon. On this land, there are aborigines who share a common ancestry with the Austronesians, but who have developed their own culture that is uniquely Taiwanese. In recent centuries, however, as a result of historical factors such as immigration and colonization, there developed a phenomenon where Chinese Han culture, Western culture, and Japanese culture blended together.



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Thus we see that Taiwan has long been multicultural, its different cultures coexisting symbiotically. The world not only witnesses different species existing here, but also different ethnic groups coexisting together, different cultures agitating, gradually forming the face of modern Taiwan, spurring this tiny island’s creativity and arts to truly amazing accomplishments. Especially since entering into the democratic era beginning in the 1990s, full progress and impressive achievements have been made in the visual and performing arts. The diverse geography and assorted ethnic cultures have enabled the Taiwanese to bravely face difficulties and challenges, with unwavering stamina, in spite of repeated assaults, and a gentle, good-natured fellow-feeling. This capacity for life is also on constant display in the annual festivities and ceremonies. To the Taiwanese and the world, Taiwan possesses two famous and conspicuous landmarks: Yushan, the tallest mountain peak in East Asia, and the Taipei 101 skyscraper,



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An Invitation



the tallest building in the world. They represent imprints of natural history and modern science, respectively. Rising confidently out of the earth, with their tangible shapes, they show the world Taiwan’s intangible loftiness. Even though the island of Taiwan is fifteen million years old, the Taiwanese are a vigorous, emerging people of recent times. They have not only preserved completely their traditional characters and traditional Chinese culture, but have also generated the most dazzling creative energy. In the Chinese-speaking world, Taiwan is also the most accomplished in establishing democracy and human rights standards. Taiwan is like a diamond, small yet beautiful, small yet sparkling. Through this album’s words and pictures, I hope international friends can become further acquainted with Taiwan and appreciate it. I also invite readers to share the beauty of this oriental island nation situated in the global village.



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Map of the island of Formosa and coastal China made by the Frenchman J.N. Bellin (1760).



More than Thirty Thousand Years of History



T



hanks to archaeologists and the sites and artifacts they unearthed, it has been proven that the earliest inhabitants of Taiwan—a land at least fifteen million years old—can be traced back to thirty-seven thousand years ago. On Taiwan’s east coast, the Changbin Culture site in Taitung County silently tells of stone-age men using chipped stone tools to hunt, whereas the five main sites of the Peinan Culture present the social behaviors and lifestyle of agricultural settlements that engaged in farming, pottery production, and trade. In its long prehistoric period, Taiwan had little contact with the inhabitants of other lands that existed beyond the seas and oceans surrounding the island, and seemed to exist in isolation. Humans, far outnumbered by mountains, trees, and animals, lived simple lives in lush forests and fields, accumulating life’s skills and wisdom as they faced nature’s tests, weathering frequent typhoons and earthquakes and the shifting of the four seasons. During that time, Taiwan was home to indigenous peoples of the Austronesian language family who varied in their language, social organization, and material culture. Since the nineteenth century, ethnologists have held that Taiwan’s indigenous peoples, aided by ocean currents and seasonal winds, arrived during different periods and through different routes from places south of it, such as the Philippines and Indonesia. For more than a decade now, however, more and more anthropologists have come to believe that Taiwan was very likely the original homeland of the peoples in neighboring regions to its south. After the mid-sixteenth century, Western European maritime powers arrived in succession in the East Asian seas. Following Spain’s occupation of Manila, the East China Sea and South China Sea quickly became a paradise for adventurers who were half-trader, half-buccaneer. Taiwan also became a playing field where Western Europeans, Chinese, and Japanese competed for profit. In 1624, the Dutch joined forces with the East India Company



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History



to occupy Taiwan, using Tainan as a base for trade with China, and actively developed tropical agriculture that centered on sugar cane and rice; this was the first “semi-regime” to emerge on the island of Taiwan. In 1662, the Ming dynasty (1386-1644) loyalist Cheng Cheng-kung retreated to Taiwan after the resistance against the newly established Ching dynasty (1644-1911) on the mainland had been thwarted. With his military power, he established a Chinese-style regime on Taiwan. Two decades later, the powerful Ching Empire crossed the sea and wiped out the regime of the Cheng family, annexing Taiwan. The Ching Empire was passive in attitude and weak in their rule over Taiwan, but the inhabitants of China’s coastal area, driven by the need for livelihood, braved the wind and waves of the Taiwan Strait and the government ban, arriving in this new land of opportunity in endless succession. With this great wave of immigration, people brought the technology and culture of their homeland to Taiwan, gradually settling the plains, forming settlements consisting mainly of ethnic Han Chinese people from China’s southern Fukien province. Beginning in the mid-nineteenth century, Western colonial powers again arrived in the Far East. In 1860, northern and southern Taiwan each boasted a major trading port, and missionaries came to spread their faith. International relations, which had been severed for some 150 years since the early eighteenth century, were reopened; the production of tea and camphor became emerging industries, contributing to the rapid development of Taiwan’s northwestern mountains and hills. In 1884, French forces engaged in a landing battle on Taiwan’s northern coast, blockading Taiwan’s ports with their fleet. A decade later, Japan, undertaking massive military expansion in the footsteps of European empires, defeated the Ching Empire with their modern weapons. Taiwan was made the scapegoat and ceded to Japan as a colony.



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After forcefully cracking down on one after another armed uprisings by the Taiwanese people, the Japanese launched massive transportation building projects for railroads, highways, and harbors; improved public environmental health; established modern Western healthcare and education systems; and put in place the infrastructures necessary for a modern nation, such as administrative institutions and legal systems, contributing to Taiwan’s modernization. At the dawn of the twentieth century, there emerged in Taiwan many small cities and towns with modern aspects, as well as the first generation of intellectuals in the island’s history. This led to the birth of public opinion groups and publications concerned with modern democratic thought and which carried out a difficult nonviolent resistance against the Japanese government. Half a century later, in 1945, Taiwan, freed from colonial rule following Japan’s defeat in World War II, was taken over by the Kuomintang (KMT, Chinese Nationalist Party), which had lost the civil war against the Chinese Communist Party (CCP) on the mainland. The “Republic of China” continued to exist in Taiwan as the Generalissimo Chiang Kai-shek with 1.5 millions of soldiers and his government fled to Taiwan and made it a military base with the aim of recovering Mainland China. He declared a martial law which lasted for thirtyeight long years. In the 1970s the “Republic of China” was forced to withdraw from the United Nations: in a few short years, most nations in the world had shifted their recognition to the People’s



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Republic of China and severed diplomatic ties with Taiwan, driving the island into diplomatic isolation. Nonetheless, with resilience and resourcefulness, Taiwan broke through with its vibrant manufacturing industry and export-oriented economy. International trade has enabled Taiwan to touch all corners of the world; from the developed countries in Europe and the United States, to the developing continent of Africa, Taiwan’s entrepreneurs and trading pioneers have left their footprints, as well as won Taiwan renown as a major producer of textiles, bicycles, and computers and peripheral products. With economic development came a heightened sense of cultural awareness, and both have led to all-around social and political democratization in Taiwan. Since the martial law has been lifted in 1987 as well as the ban on newspaper publication in 1988, Taiwan has come to enjoy unprecedented freedom of speech. Democracy, liberty, openness and diversity have become the core values most treasured by the people of Taiwan. Through waves of popular reform movements, Taiwan has seen significant change in terms of parliamentary and local-level elections and direct presidential elections, undergoing its first transfer of power between political parties in 2000, when the Democratic Progressive Party (DPP) replaced the KMT, which had been for half a century Taiwan’s ruling party. At the turn of the millennium, Taiwan has finally entered a new phase both in political and cultural terms, forging ahead through the trials of democratic transition to become the only exemplary democracy among Chinese societies throughout the globe.



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The Dutch built this fortress—known as Fort Zeelandia—in what is now Tainan City in 1624. This was the center of Dutch power and trade in Taiwan.




Previous page: The Tainan Confucius Temple, built in 1665 during the Ming Dynasty, is Taiwan’s earliest Confucian temple. This temple was known as Taiwan’s highest institute of learning during the Qing Dynasty.



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Next page:  Pingpu aborigines (one of Taiwan’s aboriginal groups) in Liukui Li in southern Taiwan (now Liukui Township, Kaohsiung County) (1871).



Taiwan Art and Civilisation




Previous page: Canadian Presbyterian minister George Mackay on a visit to the Chilai Plain (near Nanfangao in northeastern Taiwan) (circa 1871).



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Reverend Mackay, who was also a dentist, pulls teeth of converts at the Wunuan Pingpu Church in Ilan County (circa 1871).



History



Performers play pipa lute and sanxian. This was then one of the main forms of entertainment in respectable society (1895-1919).



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A folk opera performance, one of the most popular forms of entertainment at the time, in the outskirts of Tainan (1895-1919).



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A Traditional Market in Taiwan (circa 1900).



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“Pig Lord Contest”—a religious festival held at the City God Temple in Tahsi, Taoyuan County. This folk ceremony is usually held on the gods’ birthdays (1926).



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Taiwan Art and Civilisation



Taiwan once exported bananas to Japan and was known as the “Bananas Kingdom.” This photo shows bananas being harvested (circa 1895-1919).



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There were many solar salt fields in the Tainan area during the Japanese occupation of Taiwan (circa 1895-1919).



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The Hung Yeh little league team won the 1968 World Little League Championship and ushered in the golden age of baseball in Taiwan.



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Reviewing the troops in front of the Office of the President in Taipei during the period of martial law and authoritarian rule (1962).



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Next page:
Crowd in front of the Dr. Sun Yat-Sen Memorial Hall in Taipei during the May 19 Anti-Martial Law Movement (1987).



Taiwan Art and Civilisation



The first student demonstration in Taiwan's democracy movement was held in March 1990. The movement's symbol was the wild lily.



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History



A presidential election rally of Mr. Chen Shui-Bian and Ms. Lu Hsiu-Lien. The results of this election ended fifty years of one-party rule in Taiwan and ushered in true democracy (2000).



Next page:
“Stand up for Taiwan”, 100 000 demonstrators in Ketagalan Boulevard, Taipei (2006).



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Green Island’s Chaojih Hot Springs at dawn. Formerly known as “Sunrise Hot Springs,” this is one of the world’s three major seawater hot springs.



A Natural Miracle



I



n November 1994, in the Bahamas, the Convention on Biological Diversity opened its first meeting of the treaty countries. Here, the world not only focused on Taiwan’s biological diversity, it also hastened efforts toward its protection and research. Occupying only 36 000 square kilometers of land and taking up only 0.023% of the world’s landmass, what surprising natural ecological miracle could Taiwan possibly possess? Firstly, Taiwan’s special geography must be looked at. Taiwan is located in the northern hemisphere, where the world’s largest continental plate, the Asian mainland, and the world’s largest ocean, the Pacific, meet. Its latitude and longitude are, respectively, 23.3 degrees north and 122.2 degrees east. Formed millions of years ago, when the Eurasian and Philippine continental plates collided, the island was slowly transformed into the topography seen today. Geologically, Taiwan is very young, and active. In the mountainous terrain which makes up two thirds of the island’s total area, there are more than two hundred peaks above 3 000 meters. Because one can observe the mountains “forming from nothing, and changing into nothing”, Taiwan is called a “natural mountain-forming laboratory”. In this active natural laboratory, the world’s commonly seen rock types can all be found, providing a rich geological landscape. Furthermore, as Taiwan is located where the subtropical and tropical zones meet, the seasonal rainfall changes quite drastically. Taiwan is also influenced by the East Asian monsoon winds. These factors combine to provide plentiful rain in the summer and strong northern winds in the winter, together acting like a sharp knife that has carved Taiwan into its multifaceted geographical contours. Even though Taiwan is small, it has almost all the world’s visible landscapes: mountains, lakes, volcanoes, hills, plains, terraces, basins, rivers, deserts, and coasts. Among them are the breathtaking and majestic Central Mountain Range, Jade Mountain Range, Snow



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Mountain Range, Alishan Mountain Range, and the Coastal Mountain Range. Rising upward, straight into the clouds, and reaching a height of 3 952 meters above sea level, Yushan, the highest peak in Taiwan, has also long been a cherished spiritual symbol of the Taiwanese. In this land of miracles formed by compressed space, the people of Taiwan can experience drastically different environments within very short stretches. Starting from the coast and hiking up the mountains, passionate hikers, following the vertically occurring ecological distribution, experience a drastically changing environment like few other places on earth. All within a day, they can take in the sights of tropical, subtropical, temperate, sub-temperate, sub-frigid, and frigid-zones, and witness the wonderful species offered by this diverse ecosystem. On the tiny island of Taiwan, dubbed “an ecological microcosm of the northern hemisphere”, there are an estimated 150 000 different species of plants and animals. This diversity often amazes the world’s ecologists. Not only is Taiwan seen as “Formosa”— beautiful island—but also as a “treasure island of biological diversity”. For example, of the world’s five thousand species of mammals, Taiwan boasts eighty, twenty of which are indigenous, such as the playful Formosan macaque, and the brawny Formosan black bear. And of the 9 900 different types of bird species, Taiwan has more than five hundred, twenty-two of which are indigenous, like the multi-colored Mikado pheasant, and the melodic Taiwan yuhina. Besides being the “bird paradise” of the world, attracting annually migratory birds from all over the world for the winter, Taiwan is also known as the “butterfly kingdom”. It has more than four hundred butterfly species, including those from the tropical, temperate, and arctic zones. Fifty of these species are endemic to Taiwan, for example, the Birdwing butterfly, which has a wingspan of fourteen centimeters.



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Taiwan Art and Civilisation



In Taiwan—a narrow and long piece of land measuring 394 kilometers from north to south, and 144 kilometers from east to west—three different types of butterfly valleys can be found. In one of these, the White Butterfly Valley in the mountains of Taitung County, amazing numbers of butterflies can often be seen flying in formation together along the river, a spectacular sight unique in the world. And situated in Meinong Township, Kaohsiung County, is the Yellow Butterfly Valley, where twice a year there are huge gatherings of yellow butterflies. The sight of thousands of these little yellow sprites flying vigorously together in the gorge can be quite breathtaking. As to Violet Butterfly Valley in Maolin Village, Kaohsiung County, it is the only other “overwintering butterfly valley” in the world, besides Mexico’s Monarch Butterfly Valley. The butterflies, their translucent wings tinged with purple, gather en masse here for the winter, their numbers once reaching a recorded high of 600 000. Taiwan is surrounded by ocean on all sides, with its east coast facing the Pacific. A short forty kilometers from here, the sea floor plunges to a depth of more than 4 000 meters, forming two distinct types of ocean environments—deep-sea and sea-shelf. Furthermore, three marine ecological systems—the East China Sea, the South China Sea, and the Philippine Sea—converge in these waters. These environmental and ecological factors explain why more than one tenth of the world’s marine organisms can be found in these waters, which offer a breathtaking underwater garden spread out on the ocean bottom. Taiwan’s marine organisms have been classified and are confirmed to currently number over 12 000. Counting fish alone as an example, there are nearly 3 000 species. Not only



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is there a rich variety, the number of new species is also ranked among the highest in the world, and the number of butterfly fish and angelfish rank number one in the world. Thus Taiwan not only enjoys the designation, “butterfly kingdom” on land, it also enjoys the designation, “butterfly fish kingdom”, with regard to marine organisms. Due to its special natural environment, Taiwan possesses abundant plant life. In the high altitude forests, there are six giant tree clusters, with the Central Mountain Range at their center. These world famous giant trees are mostly over 2 000 years old, with some even over 3 000 years. The Taiwan Red Cedar and Taiwan Yellow Cypress, endemic to Taiwan, represent two of the world’s seven varieties of Chinese cypresses. They are “divine trees” in the eyes of the Taiwanese, as well as the “green miracle” of Taiwan’s natural world. Taiwan is also a “fern paradise.” There are more than 12 000 species of ferns in the world. Compared with 152 species of ferns in Europe, 406 in North America, and 456 in Australia, Taiwan has as many as 672 species of ferns, sixty of which are endemic to the island, easily the world’s leader. Taiwan is also the original habitat of the white garlandlily, which won the top prize at an international orchid exhibition as early as 1952. In recent years, this famous horticultural display flower, with its elegant shape, has been showing its loveliness all over the world, as Taiwan’s orchid exports have skyrocketed. From a worldwide geographical perspective, Taiwan does not draw much attention, and is even neglected. But from an ecological perspective, thanks to Providence’s tender care, Taiwan shine in this meeting place of land and sea in the East. Beautiful Taiwan, with the miracle of its diverse natural ecology, appears dazzling, precious to the world!



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The deep and complex Coastal Range of eastern Taiwan consists of three rows of mountains.



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The towering Syueshan Range is not far from the Taipei basin.



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A snowy scene in the Syueshan Range. This range once even had glaciers.



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Taiwan Art and Civilisation



The high mountain forest community (above 3 600 meters) is adapted to a subarctic climate.



Next page:  Jialuo Lake in Tatung Township, Ilan County (2 250 meters).



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Next page:  The oak forest zone (1 500 to 2 500 meters) has a temperate climate.



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Nuphar shimadai, an aquatic plant endemic to Taiwan, is found in ponds and lakes in lowland and low-elevation areas.



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The rare water plant Brasenia schreberi is found only in a few mountain lakes in eastern Taiwan.



Moltrecht’s Green Tree Frog is 4-5 cm in length. This endemic tree frog is a Class 2 protected species; it is found in mid-low elevation mountain areas.



Acorus gramineus macrospadiceus, a variety endemic to Taiwan, grows between riverside rocks in mid-low elevation mountain areas.



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Taiwan Art and Civilisation




Previous page: The Morrison azalea (Rhododendron pseudochrysanthum), a species endemic to Taiwan, grows in sunny areas above 3 000 meters in the Central Mountain Range.



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Swertia matsudai, a species endemic to Taiwan, grows at an elevation of 2 300-3 000 meters in northern and central Taiwan.



Nature



The Taiwan pleione (Pleione formosana), a species endemic to Taiwan, is a mid-elevation mountain epiphyte growing in damp, mossy places, or on tree trunks and cliffs.



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Taiwan Art and Civilisation



Sedum morrisonensis, a high mountain species endemic to Taiwan, is found in sunny areas at an elevation of 2 500-3 900 meters.



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Taiwan Art and Civilisation



The butterfly Danaus chrysippus has a wingspan of approximately 5-6.5 cm; it can be found in low-elevation areas throughout Taiwan.



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The butterfly Danaus genutia has a wingspan 7.0-8.0 cm. It is found at relatively high elevations in the mountains.



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The butterfly Delias pasithoe can be seen all year round throughout Taiwan’s lowlands and lower mountain areas.



The butterfly Cepora nandina eunama is commonly found in mid-low-elevation areas in central and southern Taiwan.



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The Birdwing Butterfly is a protected species in Taiwan conservation. This tropical species is found on the island of Lanyu, Taitung County.



The butterfly Ixias pyrene insignis is found in mid-low-elevation mountain areas, particularly in the valleys of central Taiwan.



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Previous page: Countless Euploea butterflies spend the winter in Butterfly Valley in Maolin Township, Kaohsiung County.



The Formosan Blue Magpie is 64 cm in length. This endemic bird is a Class 3 protected species. It is found in mid-low-elevation broadleaf forests and secondary forests.



Nature



The Common Kingfisher is 16 cm in length. It is good at fishing and commonly seen on branches, tree stumps, and rocks near ponds and streams.



The Taiwan Yuhina is 13 cm in length. This endemic bird is a Class 3 protected species. Flocks of this very active bird frequent the middle and upper levels of mid-low-elevation forest.



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Steer’s Liocichla is 18 cm in length. This endemic bird is a Class 3 protected species. It is commonly found in broadleaf forests at an elevation of 1 000-2 800 meters. Flocks of Steer’s Liocichla are active near the forest floor.



The Light-vented Bulbul (also known as the Chinese Bulbul) is 18 cm in length. This subspecies is endemic to Taiwan. Pairs or small flocks frequent forests and thick grasses.



The Maroon Oriole is 28 cm in length. This subspecies is endemic to Taiwan, and is a Class 1 protected species. It is found in low-elevation broadleaf forests, and is commonly seen in the mountain areas of Kaohsiung and Pingtung counties.



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Taiwan Art and Civilisation



The Black-faced Spoonbill is 74 cm in length, and is a Class 1 protected species. Approximately 60% of the world’s Black-faced Spoonbills spend the winter near the mouth of the Tsengwen River in Southern Taiwan. Found only in East Asia, the surviving members of this species number around 700. The International Council for Bird Preservation (ICBP) lists the Black-faced Spoonbill as an endangered species.



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Chinese Crested Terns (Matsu Terns) are found around harbors, river mouths, and island. They are currently on the verge of extinction.



Next page:  The Herring Gull is 61 cm in length. Small flocks of these gulls can be seen along the coast and near river mouths, especially when a cold front has hit Taiwan.



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The Chinese green tree viper is widely distributed in mid-low-elevation mountain forests and farmland. It prefers a somewhat damp environment.



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Considered a national treasure, the Formosan Landlocked Salmon inhabits deep pools in high mountain streams.



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This subspecies of muntjac is endemic to Taiwan. It is found from low elevations to 3 000 meters in mountain areas.



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This subspecies of clouded leopard is endemic to Taiwan. It lives at approximately 1 000 meters in virgin forest, and is on the verge of extinction.



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Located southeast of Taiwan in the Pacific Ocean, the island of Lanyu has a natural, oceanic appeal.



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Previous page: The very popular Tapaisha Diving Area on Green Island features an excellent diving path.



The enchanting sunset scenery at Chiangchun Rocks on Green Island in eastern Taiwan’s Taitung County.



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This green meadow is the best place on Lanyu to see the sunset.



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The sea shimmers in Lanyu’s Tungching Bay.



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Green Island’s Chiangchun Rocks are the sea-eroded remnants of an ancient volcanic formation.



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The Peihai Tunnel Complex on the offshore island of Matsu is a massive engineering achievement.



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Dusk at Nanhu Fishing Harbor on Chimei Island, Penghu County.



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The “Double Heart” fish trap on Chimei Island, Penghu County, is known for its beautiful shape.



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A Penghu resident looks for shellfish in the tidepools at dawn. Gathering coastal shellfish is an important part of the local people’s livelihoods.



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 Cactus blooming in summer. Cactus is one of most common plants on the Penghu islands.



 Shuanglien Pond in Ilan County is an important aquatic plant conservation area.



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Mt. Yushan is a symbol of the spirit of Taiwan.



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Towering Mt. Yushan—at 3 952 meters Taiwan’s highest peak—is covered with snow in this photo.



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The sublimely beautiful undersea world of Taiwan.




Previous page: The Chingshui Cliffs along the old Suao-Hualien Trail in eastern Taiwan.



Next page:  Coastal reefs on Hoping Island, Keelung City.



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Central Taiwan Changhua County Confucius Temple (1727).



Architectural Style and Culture in Transition



I



n 2004, the “Taipei 101” skyscraper became a landmark of Taiwan by reaching a height of 508 meters. This modern-era high-rise looks like a stalk of bamboo with many nodes. It symbolizes the Taiwanese people’s aspiration to rise in status “step by step”. It is listed in the world architectural annals as “the tallest building in the world.” Architecture, the artistic genre which includes the largest works of art, generally integrates civilization, historical origins, space aesthetics and workmanship. Likewise, Taiwan’s architecture has undergone different phases of metamorphosis in style. From its early roots, to the later manifestations that can accommodate the citizens’ lifestyle and habits, Taiwan’s architecture exhibits enchantingly multifarious and pluralistic characteristics. The earliest architecture of Taiwan originated long time ago from the handiworks of the aborigines. Mingling with Mother Nature, these ancient tribes used the local materials available to them— wood, bamboo, or slab-stones. The resulting creations reflect their wisdom and experience. Drawing inspiration from their religion and mythology, the aborigines decorated their houses with consummate sculpting skills, satisfying the requirements of both artistic beauty and practical needs. In the ensuing centuries, a large number of Han people from the southeastern coast of China immigrated into Taiwan. They built their lodgings by hand with mixtures of clay, thatch, glutinous rice and stones. These crude and clumsy buildings formed the first villages of Taiwan. Then, in the seventeeth century, the first towns began to emerge after the Dutch and Spanish trading armies had arrived in Taiwan for commerce. These foreigners built castles, trading firms, churches and streets. Intended for defense, control, and the symbolic demonstration of their colonial supremacy, these structures injected an unprecedented European flavor into Taiwan’s architecture.



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When Taiwan’s written history began in the seventeeth century, the “red brick” architecture was emerging. The Dutch built the Old Fort of An-ping and the Chih-kan Tower in Tainan, while the Spanish built Fort San Domingo in Tamsui. These structures are the earliest and most impressive in the collective memory of the Taiwanese regarding their architecture. The red brick used in constructing then became a popular building material and brought about changes in the traditional Han architecture. Take the Confucius Temple built in 1665 for example: its structural form remains purely traditional, but because large quantities of red bricks and red tiles were used, its outer appearance displays the flamboyant luster of southern Taiwan. Everywhere else, red brick houses dot green pastures and verdant wildernesses. Their silhouettes make a most charming multicolor picture when white egrets are found feeding and resting by the waterside. After the impact of European styles, Taiwan witnessed an increasing emphasis on architecture in the subsequent two centuries. Building styles became more diversified. Palaces, manors, temples, and private schools emerged. Wealthy families who had made their fortunes from commerce were willing to hire first rate technicians and craftsmen and spend several years in building grand style mansions replete with exquisite pavilions, chambers, and very refined horticultural gardens. Local temples, which served as centers of worship and social life for the common people, became the pride of Taiwanese architecture. For example, the engraved pillars, rooftop formation, theatrical platform, terraces, flower windows and frescos of Lungshan Temple in Lukang township, Chang-hua Prefecture, are all considered to be artistic works of the most delicate quality.



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In the fifty years following 1895, Taiwan became a colony of Japan. Under the rule of this Oriental empire, Taiwan was again baptized in Western trends. The Japanese government was in the throes of the Meiji Reform at that time; total westernization was enforced on all fronts. Consequently, the Japanese Occupation Government resolutely pushed for urban renovation in Taiwan. Magnificent, solid, and symmetrical public institutions such as the governor’s mansion, museums, official residences, hospitals, and train stations began to emerge on Taiwan’s horizon, bringing a new look to its architectural landscape. To sum it up, the Taiwanese architectural outlook before the mid-twentieth century was volatile and imbued with history and culture. It merged the essence of the Southern island tribes and the Han people, with the marrow of Western and Japanese culture, forming the architectural scene on a small island as colorful and variegated as that of an artist’s palette. Over the past fifty years, in their efforts to march toward modernization, the Taiwanese people, when contemplating how to build their own architectural glossary, were able to pluck the nutrients from their historical heritage, and use them as a source for creation and esthetic foundation. Right after World War II, Taiwan experienced a period of confusion in which Chinese architectural style intermingled with the so-called “cement jungle” construction concept of a modern metropolis. But in consequence of the rapid developments both in economy and education, starting in the 1970s, peoples’ need for modern buildings accelerated. Architectural talents bred by the universities, and experts returning to Taiwan



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in large numbers after their studies abroad, advocated new ideas and new directions, which further stimulated Taiwan’s architecture. Public buildings with modern features began to emerge in the 1980s. The Taipei Municipal Art Museum is a notable example. In its wake followed the fashion for postmodern architecture. In the 1990s, Taiwan’s architecture gradually weaned itself free from traditional Chinese influence, and started to foster its own indigenous design style. Especially after the 1999 “September 21 Great Earthquake”, many middle-aged architects threw themselves into school reconstruction in the stricken areas. With their refined design concepts and humanistic concerns, these architects opened a dialogue between architecture and environment, allowing many more humanistic features in Taiwanese architecture. In addition, many major constructions with urban planning concepts entered into the lives of the people and became topics of daily discourse. These include the Nan-kang Software Park, the MRT stations, and the world’s tallest building “Taipei 101” Architecture not only reflects visual estheticism and quality of life; it also represents the urban features of a city and the cultural countenance of a land. In the long, meandering process of history, Taiwan not only witnessed the metamorphosis of architecture: it also created, through the integration of traditional and modern elements, a habitat akin to its land, its people and their customs. Moreover, it aspires to write a splendid new chapter in the annals of world architectural culture.



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A carved “double-carp, four-bat, qihu” window in the form of the Eight Diagrams at Lungshan Temple, Lukang, Changhua County (1798).



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An octagonal plafond ceiling about the stage at Lungshan Temple in Lukang. The original function of this type of plafond ceiling was to support a skylight window (first built in 1798).



Next page:  Fort Providencia in Tainan was a fortress built during the Dutch period (1653).



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A ceremonial gateway honoring the virtue of Chiu Liang-kung’s mother in Kinmen (one of Taiwan’s offshore islands). In bygone times a son, after receiving the emperor’s approval, could build this type of gateway to honor his mother’s virtue and filial piety (1812).



Imperial decree and inscription “respectfully making manifest virtue and filial piety” on the gateway honoring Chiu Liang-kung’s mother, Kinmen County.



Next page:  The Chaoying Temple—a folk religion temple in Yilan County in northeastern Taiwan (first built in 1808).



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The Lin Family Gardens in Panchiao (home of Lin Pen-yuan). This home of one of early Taiwan’s most prominent families possesses important Fujian-style architectural features (1853).



Next page:  Part of the Lin Family Gardens in Panchiao (1853).



The Erkun Fortifications, Tainan County (1876).



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The Hsiaoyun Mansion in Shenkang, Taichung County. The mansion’s Hsiaoyun Pavilion was the largest studio in Qing Dynasty Taiwan (1866).



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British consulate in Tamshui (1891).



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The Tehyueh Mansion in Shuitou, Kinmen County. A Kinmen businessman who made his fortune in Southeast Asia built this Western-style building in his hometown (1920’s & 1930’s).



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The Kuanghsi School in Tatu, Taichung County was built by the local gentry, and provided basic education to the area’s children (1888).



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Mengchia Lungshan temple in Taipei (1920).



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Peitou Hot Springs Museum, Taipei (1913).



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Historical building of National Taiwan University Hospital in Taipei (1916).



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Previous page: Chinan Presbyterian Church in Taipei (1916).



Control Yuan in Taipei (1915).



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Taiwan Tobacco & Liquor Corp. building, Taipei (1922).



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Martyrs’ Shrine in Taoyuan County (1930).



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Next page:  Office of the President in Taipei (1919).



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Luce Memorial Chapel at Tunghai University in Taichung (1963).



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Next page:  Internal structure of the Luce Memorial Chapel at Tunghai University.



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National Sun Yat-Sen Memorial Hall in Taipei (1972).



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National Taiwan University’s bamboo house at Hsitou in Nantou County (1983).



Next page:  Seaside stone towers on Hsihu Island, Penghu County, were built as protection from evil winds and harmful spirits.



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Beinan Park, Taitung County Museum of History and Prehistory (1999).



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Chiang Kai-shek Memorial, Theatre and Concert Hall at night, Taipei.



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A Tsou (one of Taiwan’s aboriginal tribes) men’s house with a wooden structure, Chiayi County. The Tsou have a strongly patriarchal society, and the tribal men’s house is an important place for meetings, decisionmaking, and rituals.



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Yingko Ceramics Museum in Taipei County (1999).



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Next page:  Hungkuo Building in Taipei (1990).



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Previous page: Etron Technology’s "smart building" in the Hsinchu Science Park (1998).



Shihsanhang Museum of Archeology, Taipei County (2002).



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“Fairy Ribbon” at Maoluo Creek in Nantou County. This structure provides both environmental landscaping and protection from the sun (2001).



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Taipei Museum of Fine Art, Taipei (1983).



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Next page:  Taipei International Financial Tower (2004).



A performance of “Moon Water” by the Cloud Gate Dance Theatre of Taiwan.



Flourishing Performing Arts and Traditional Life



T



oday, in Taiwan, the performing arts, whether music, dance, modern theatre, or traditional opera, have made impressive achievements and reached high levels of standard. Absorbing multicultural elements in a nourishing local environment, Taiwan’s performing arts have not only shone locally, but also on the international stage. In 2003, the New York Times chose as best dance pieces works by the Cloud Gate Dance Theatre of Taiwan and the Han Tang Yuefu Ensemble. The Cloud Gate Dance Theatre established in 1973, was Taiwan’s first professional dancing company. It has produced more than 150 works in the last thirty years. In Taiwan, on average, 60 000 people attend each show. Cloud Gate has also performed on more than 300 stages worldwide, with more than one thousand shows total, mesmerizing dance fans throughout the globe, who equate Cloud Gate with Taiwan. The Han Tang Yuefu Ensemble, on the other hand, combines traditional Nanguan music with Liyuan opera, attracting interest with its exquisite and refined appearance and graceful movements. Another dance company, the Legend Lin Dance Theatre, is famous throughout Europe. Absorbing much of its creative ideas from elements and symbols from Taiwanese folk beliefs, it presents a mysterious sense of beauty along with visual shock in its bodily movements, costumes, staging, and style. Not only has Legend been repeatedly invited to participate in France’s Avignon Arts Festival and other European art festivals, but its founder and artistic supervisor was also invited in 2002 by ARTE—French-German famous artistic and cultural television channel—as one of the eight most representative choreographers in the world. She was also the only choreographer from Asia.



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Influenced by different cultures, Taiwan boasts a large variety of music genres. The earliest music of the indigenous peoples incorporates song and dance, and is often closely tied with rites of passage and ceremonies. In the renowned “Pasi-but-but” (“Song in prayer for a rich millet harvest”) of the Bunun tribe, singers engage in improvised polyphonic singing, even developing an eight-part harmony, creating blissfully beautiful music that international audiences have been marveled by. Taiwan’s traditional music also includes the folk songs and music of the Fukienese and Hakka people, whether it is nanguan (“southern pipe” music), beiguan (“northern pipe” music), or the Hakka eight tones music, all achieve a considerable level of artistry. In the early twentieth century, western music officially took root in Taiwan. Through musical education in schools, western music was swiftly popularized in Taiwan’s urban areas, leading to significant changes in musical tastes and song and lyric writing on the island. Today Taiwan is home to numerous educational institutes for western music, as well as a number of orchestras, chief among which is the National Symphony Orchestra (NSO). In terms of modern theatre, Taiwan had already accumulated a wealth of experimental and creative energy prior to the 1987 lifting of martial law. Later on Taiwan saw a lively theatre scene that thrived along with the development of the theatre movement and concern for social issues. Different forms of modern drama burst onto the stage, as well as children’s theatre, Taiwanese style opera troupes, troupes concerned with women’s issues, theatre groups consisting of actors seventy years old and above, and storytelling and singing troupes. Among these, two groups have continued to win praise on the international stage over the last decade for their strong creative intent and excellence in performance.



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The Contemporary Legend Theatre combines the skills and movements of traditional Chinese opera with the elements and spatial designs of modern theatre. It is engaging in experimental and innovative work that merges the East and the West through productions of renowned western plays such as Macbeth, King Lear, The Tempest, and Waiting for Godot; each international tour has stimulated enthusiastic discussions and response. Performances by the U Theatre, on the other hand, are based on the purely Eastern concepts of “Tao” (the way) and “Yi” (the learning and maturity of art), blending “the still and the dynamic” arts of Zen meditation and drumming, striking a chord deep within each viewer. For the performance creators of Taiwan, they are fortunate to be able to glide between tradition and innovation; for the audiences, they enjoy the rare opportunity of viewing works both traditional and modern. Modern performances borrow much from Western aesthetics, while traditional performances are reflections of spiritual ties to the homeland, among which the hand puppet show and Taiwanese opera are most representative of the characteristics of Taiwan’s traditional theatre. Traditional puppets stand approximately 30 centimeters tall; the puppet necks, costumes, and stage are finely crafted and highly artistic, collected by aficionados and researchers alike. Performance of puppets manipulated by the palm and fingers was already widely popular in Taiwan in the early twentieth century and an important source of recreation and entertainment in people’s daily lives. Even today, hand puppet shows, with their emphasis on the spoken lines and skillful manipulation of the puppets, are still the most widespread and popular form of theatre in Taiwan. Taiwanese opera is the only form of traditional theatre in Taiwan to have developed locally, originating in Yilan and now more than one hundred years old. This form of theatre,



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which uses the common language in Taiwan and bears strong regional colors, places great emphasis on the movements and singing of performers; its characteristic of “No sound that is not singing, no movement that is not dancing” is its most important artistic achievement. Although the Taiwanese opera is a recent genre, due to its wide audience base, it has gradually developed into a folk performing art form that enjoys a rich repertoire and fascinating stories. The two traditional theatrical forms mentioned above play an important role in paying respect to deities and entertaining humans in Taiwan’s popular culture and ritual ceremonies during temple fairs. In addition, there are the various parade performances often observed during festivities, which used to be performed mainly by farm youths. These performances, with deep religious implications, boisterous presentations, intricate processes, and bright colors, emanate a solemn attitude of “respect for the heavens and fear of gods”. Whether it is in Taiwan’s grandest religious ceremony, “Welcoming the Goddess Matsu”, or carnivals on important holidays, ceremonial rituals and parade performances not only attract the attention of locals, but also continue to draw international folk customs experts to conduct in-depth documentary and research work, which are then presented at international academic seminars. Since martial law has been lifted, Taiwan enjoys the highest level of freedom, and the liberal environment has given free rein to a lot of creative work. This has allowed Taiwan’s performing arts to develop fully, without any censorship, and they have now blossomed all over the island: one can say that each performance not only puts on display the beautiful artistry of the performers, but also constitutes part of a moving tableau of contemporary Taiwan.



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Men of the Tao Tribe perform a ritual dance.



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A Paiwan man in traditional costume asks for a woman’s hand in marriage.



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Bunun children in full traditional costume.



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 The joyful Rukai harvest festival.



Page 162:  This kind of mouth harp is a traditional Bunun instrument.




Previous page: Rukai on a swing celebrating the harvest.



Page 163:  Atayal warriors in traditional costume.



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Previous page: Production of oil-paper umbrellas in Meinung, Kaohsiung County.



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God impersonators lead a procession for a temple festival.



A “household generals” ritual performing arts troupe.



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Scene at a temple festival in Taiwan.



168



Paiwan wood carving.



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Guardian deities painted on a temple door.



Next page:  Kite-flying is a very popular recreational activity among children.



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Page 174: Taipei holds a lantern show for the Lantern Festival.



Page 175: This ancient temple is decorated with lanterns to signify good fortune.



The Lantern Festival is traditional holiday after the Lunar New Year.



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Taipei’s Kuantu Temple is decorated with lanterns and streamers during the Lunar New Year holiday period.



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The people of Pinghsi release sky lanterns to appeal for good fortune.



Next page:  Roof decorations at Pao-an Temple in Taipei.



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Previous page: Exquisite carved flowers decorated the interior of a temple.



Matsu is one of the leading deities in Taiwanese folk religion.



Next page:  The original function of plafond ceilings was to support a skylight window. This complex and beautiful plafond looks like a spider’s web.



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Liao Chiung-Chih, the number one tragic female role in Taiwanese opera.



Next page:
A performance of “Cursive” by the Cloud Gate Dance Theatre of Taiwan.



Pages 188-189: A performance of “Songs of the Wanderers” by the Cloud Gate Dance Theatre of Taiwan.



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A modern dance company—the Taipei Crossover Dance Company.



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A performance of “Songs of the Wanderers” by the Cloud Gate Dance Theatre of Taiwan.



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A performance of “Nine Songs” by the Cloud Gate Dance Theatre of Taiwan.



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A performance of “Bamboo Dream” by the Cloud Gate Dance Theatre of Taiwan.



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The Taipei Dance Circle performs the “Kuroshio current.”



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A performance of “Silent Pestle Sound” by the Neo Dance Company.



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Previous page: A performance of “Bamboo Dream” by the Cloud Gate Dance Theatre of Taiwan.



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Performance of “Listen to the Heart of the Sea” by the U Theatre.



Performing Arts



Page 200: A performance of “Silent Pestle Sound” by the Neo Dance Company.



Performance of “Diamond Heart” by the U Theatre. Page 201: The Legend Lin Dance Theatre performs the “Anthem to the Fading Flowers”.



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In the Manner of a Phoenix, Yang Ying-Feng, stainless steel, 1970, 104 x 125 x 70 cm.



Vigorous Visual Arts



A



nalagous to the multi species in nature and multi cultures among humans, the visual arts in Taiwan are multifaceted. Specific factors from geography, history, politics and ideology provide perspective and emotional stimuli for artists’ creative works. Thus, in various opportunities, the visual arts in Taiwan evolved from a solo act into a chorus, competitive and vigorous. For the aborigine people, beauty symbolizes authority. The higher the rank of the noble or patriarch, the more colorful and complex his wardrobe and make-up becomes. The resultant weaving and embroidery are delightful treats to the eye. Some tribes are so gifted in decorating their costumes that each has become an invaluable piece of art. Some of their creative ideas have been incorporated by Taiwan fashion designers in their work; they appeared so innovative that they won high acclaim in a 2005 fashion show in Paris. To meet the needs of daily life, customs and religious rituals, the aborigines had also become masters of carving. They applied this skill to their lodgings, furniture and utensils, leaving highly visible traces of originality as well as beauty. Among the most impressive are the canoes made by the Da-U Tribe, “children of the ocean” To build such a canoe and beautify it with carvings is regarded as the most significant achievement in life for a Da-U man. Sea waves and sunshine on the canoe best express their sentiments when seeing the merging together of the ocean and the sky.



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These cultural ingredients are important sources of creativity for the modern visual arts in Taiwan. From the end of the seventeenth century onward, cultural facets of the society of immigrants were gradually manifested in the utensils, dress, furniture, and wedding sedanchairs. Simultaneously, the immigrants refined and polished their temples and ancestor worship halls with great vigor and at great cost to express their devotion and pay tribute to their gods and ancestors. Such relics are tantamount to the early totems of Chinese immigrants in Taiwan and constitute an invaluable artistic heritage today. In pure painting, due to the influence of the Chinese Ming and Manchu dynasties fashions, most of the Taiwanese intellectuals and men of letters were able to engage in the “literary painting” that stressed abstract rhythm and spiritual vision. Particularly noteworthy is that a large space of the canvas was left empty so that the painters could write the poems that they had composed. Similarly, under their signatures, they imprinted a seal or several seals in various written forms. Such practices are rare in the paintings of other parts of the world. With its overemphasis on imitation, literary painting gradually lost originality and vitality. Fortunately, it has enriched its content in recent years, aiming toward modernity, resemblance to life and reality. Thus, it is still a vital part of the visual arts in Taiwan.



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In the 1920s, the Japanese colonial government introduced a formal Western educational system into Taiwan, a milestone enabling its visual arts to move forward. Many new terms, such as naturalism, realism, Fauvism, plein air painting, sketching, oil painting and New Craft, began to take root in the soil, with their concepts opening a window for modern painting. During the subsequent decade, the intellectuals and painters in Taiwan not only had contacts with waves of modern Western ideas, culture and art; they also unexpectedly brought about a movement for enlightenment in local culture. Properly regarded as the first generation of Taiwanese artists, they created a glorious era of modern painting. In 1949, the government of the Chinese Nationalist Party took refuge in Taiwan and immediately proclaimed martial law. Ink painting once more became the main trend. Under the fetters of thought control, all the arts became monotonous and impoverished. The freedom of content was likewise harshly limited. During the 1960s and 1970s, however, visual arts in Taiwan accumulated an ever-increasing artistic energy from a variety of sources: the stimuli of ideas of modernism in Europe and America, the rise of art salons, the awakening of the consciousness of local identity, the movement for cultural resurgence, and other factors in the background. Under stringent suppression for more than a decade, this energy exploded and initiated the most vigorous 1980s. With the lifting of martial law, and social reconstruction, the visual arts in Taiwan were ready to plunge into a new odyssey.



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From pure painting and pure creation in early visual arts, a new notion became widely recognized. That is “artistic expression is no longer for mere aesthetic satisfaction”. Such a change in attitude reveals the artists’ strong social consciousness and intention to reform. The most conspicuous aspect is the “freedom” with which many former taboos were explored, including sensitive political issues, social criticism, and a search for cultural roots and the characteristics of the age. In terms of creative form and method, Taiwan’s contemporary art boasts diverse aspects, including New Painting, developed from traditional media of the East and West, threedimensional and plastic art, spatial and installation art, photographic and video art, body and performance art, general and conceptual art, and technological and digital art. In addition to the fine arts, Taiwan also displays its unique popular and cultural elements in the fields of illustration art, visual communication, graphic design and folk art. On the strength of the astonishing achievements over the brief period of the past twenty years, Taiwan has actively engaged in international exchange and dialogue, riding on the tidal wave of "arts have no national boundary”. In recent years, Taiwan has held various large-scale art exhibits and activities. It has also participated in the biennial exhibits in Venice, Lyon and Sao Paulo. A model for international connection and mutual observation has been established. If a democratic country with a generous and tolerant people is the best environment for artistic creation, today’s Taiwan should be the paradise for artists.



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Previous page: Aboriginal Girl, Shui-Long Yen, 1989, oil painting, canvas, 60.5×x 50 cm.



Bustling South Street, Hsueh-Hu Kuo, 1930, acrylic painting, 188×x 94.5 cm.



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Landscape, Dai-Chien Chang, 1977, splash-ink painting.



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Lanyu Scenery, Shui-Long Yen, 1989, oil painting, canvas, 65×x 91 cm.



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Rainbow, Chi-Hsiang Liu, 1951, oil painting, canvas, 73×x 61 cm.



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Mt. Kuanyin Sunset, Te-Cheng Liau, 1995, oil painting, canvas, 44.5×x 38 cm.



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Early Spring of Kenting, Mei-Shu Lee, 1978, oil painting, canvas, 72.5×x 91 cm.



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Litchis, Po-Chuan Kuo, 1967, hsuan paper, oil painting, 72.5×x 91 cm.



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Shanlinhsi, Tze-Fan Lee, 1983, watercolor, paper, 54×x 39 cm.



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Sun Moon Lake, Shih-Chiao Lee, 1974, oil painting, canvas, 72.5×x 60.5 cm.



Visual Arts



Wulai Waterfall, Houei-Kuen Chen, 1977, acrylics, paper, 186×x 92 cm.



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Old Music, Chin Chen, 1982, acrylic painting, 110×x 53 cm.



Next page:
Orange Blossoms, Houei-Kuen Chen, 1997, acrylics, paper, 55×x 44 cm.



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Lotus Pond, Yu-Shan Lin, 1930, watercolor on silk, 147.5×x 215 cm.



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Taichi Series-Taichi Arch, Ju Ming, 2001, bronze, 1520 x 620 x 590 cm.



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Door of the Taiwan Taiya, A Sun Wu, 2006, wood, 500 x 550 cm.



Africa Band, A Sun Wu, 2006, 184 x 246 cm.



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Secret Strength, Hsien-Kun Chan, 2000, oils, canvas, wood, charcoal, 420×x 500×x 200 cm.



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Hidden in a Sack, Wen-Hsiang Chen, 2001, output images, toys, transparent acrylic boxes, 210×x 150 cm.



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Indulgent but not Confused, Ming-Tse Li, 1996, acrylics, canvas, 300×x 510 cm.



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Second-generation Taiwan Futeh Temple, Shy Gong, 2000, installation art, 400 (h) x×120 (d) x×520 (w) cm.



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Warm, Chuan-Chu Lin, 2002, ink and wash painting with color, paper, 125×x 130 cm.



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Misty Peak, Jo-Chien Chen, 1999-2000, ink and wash painting with color, paper, 143×x 170 cm.



Kui Mo Summer, Wu Wang, 2003, wood block print, 120×x 120 cm.



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Compound, Teh-I Chu, 2002, acrylic, linen, 114×x 146 cm.



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Zero is Greater than One III, Chiu-Chen Lai, 2002-2003, mixed media, canvas, acrylic, 60×x 60 cm×(20 pieces).



Visual Arts



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Harbor, Chi-Chun Liao, 1964, oil painting, canvas, 65.5×x 80 cm.



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On the Island-Exile III, Cheng-Jen Chang, 2000, mixed media, 180×x 276 cm.



Inkscape, Ken-Shen Hung, 2003, ink, acrylics, silk, plaster, paper, canvas, 162×x 568 cm.



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A Spring Night’s Dream II, Tian-Chang Wu, 1995, multimedia, 220×x 180 cm.



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The Depths of My Heart, Tsan-Hsing Kao, 1990, iron, stainless steel, and glass, 142×x 125.5×x 163 cm.



Absolute Hung, Tong-Lu Hung, 2002, black mesh grating (3D image), light box, 120×x 160×x 15 cm.



Next page:
Floating Coordinates, Ming-Huei Chen, 2003, iron and aluminum, 650×x 60×x 60 cm.



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Previous page: Drifting Uniform II, Donald Han, 1993, camphorwood, 93×x 39×x 46 cm.



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Agreement, Bo-Fong Sun, 1997, copper, 52×x 23×x 163 cm.



Visual Arts



Dance, Liang-Tsai Lin, 1990, steel, 39.5×x 194.5 cm.



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Byniki, Hui-Chan Kuo, 2002, output image, 144×x 182 cm.



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Replicated Eve, Hsin-Yi Lin, 2003, light box, slides, output images/interactive images, 100×x 260 cm.



Ling Chih-kao: Echo of a Historic Photo, Chieh-Jen Chen, 2002, audio recorder, 300×x 400×x 3 cm (screen).



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Between, Chun-Ming Chen, 2001, performed by Maxine Iannarelli & Yasmine Hugonnet.



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Index of Artists Chan Hsien-Kun .......................................................................................................................... 228 Chang Cheng-Jen ......................................................................................................................... 238 Chang Dai-Chien..................................................................................................................... 210-211 Chen Chieh-Jen ............................................................................................................................ 248 Chen Chin .................................................................................................................................... 220 Chen Chun-Ming ......................................................................................................................... 249 Chen Houei-Kuen ................................................................................................................. 219, 221 Chen Jo-Chien .............................................................................................................................. 233 Chen Ming-Huei .......................................................................................................................... 242 Chen Wen-Hsiang ........................................................................................................................ 229 Chu Teh-I ..................................................................................................................................... 234 Gong Shy ..................................................................................................................................... 231 Han Donald ................................................................................................................................. 243 Hung Ken-Shen ............................................................................................................................ 238 Hung Tong-Lu /U&S Absolut Spirits ............................................................................................. 241 Kuo Hsueh-Hu ............................................................................................................................. 209 Lai Chiu-Chen .............................................................................................................................. 235 Lee Mei-Shu ................................................................................................................................. 215 Lee Shih-Chiao ............................................................................................................................. 218 Lee Tze-Fan ................................................................................................................................. 218 Li Ming-Tse .................................................................................................................................. 230 Liao Chi-Chun ...................................................................................................................... 236-237 Liau Te-Cheng .............................................................................................................................. 214 Lin Chuan-Chu ............................................................................................................................ 232 Lin Hsin-Yi ................................................................................................................................... 248 Lin Liang-Tsai .............................................................................................................................. 245 Lin Yu-Shan .......................................................................................................................... 222-223 Liu Chi-Hsiang ............................................................................................................................. 213 Ju Ming ........................................................................................................................................ 224 Kao Tsan-Hsing ........................................................................................................................... 240 Kuo Hui-Chan ....................................................................................................................... 246-247 Kuo Po-Chuan ....................................................................................................................... 216-217 Sun Bo-Fong ................................................................................................................................ 244 Wang Wu ..................................................................................................................................... 233 Wu A-Sun ..................................................................................................................... 225, 226-227 Wu Tian-Chang ........................................................................................................................... 239 Yang Ying-Feng ............................................................................................................................ 202 Yen Shui-Long ...................................................................................................................... 208, 212



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List of Illustrations An Invitation Sky Lanterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 History The “Bananas Kingdom” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Canadian Presbyterian minister George Mackay on a visit to the Chilai Plain . . . . . . . . . . . . . . . . . . . . . . 22-23 Crowd in front of the Dr. Sun Yat-Sen Memorial Hall in Taipei during . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . the May 19 Anti-martial Law Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 The Dutch built this fortress—known as Fort Zeelandia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The first student demonstration in Taiwan’s democracy movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 A folk opera performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26-27 The Hung Yeh little league team won the 1968 World Little League Championship . . . . . . . . . . . . . . . . . . . . 33 Map of the island of Formosa and coastal China . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Performers play pipa lute and sanxian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 “Pig Lord Contest”—a religious festival held at the City God Temple in Tahsi, Taoyuan County . . . . . . . . . . . 29 Pingpu aborigines (one of Taiwan’s aboriginal groups) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 A presidential election rally of Mr. Chen Shui-Bian and Ms. Lu Hsiu-Lien . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Reverend Mackay pulls teeth of converts at the Wunuan Pingpu Church in Ilan County . . . . . . . . . . . . . . . . . 24 Reviewing the troops in front of the Office of the President in Taipei during . . . . . . . . . . . . . . . . . . . . . . . . . . . . the period of martial law and authoritarian rule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Solar salt fields in the Tainan area during the Japanese occupation of Taiwan . . . . . . . . . . . . . . . . . . . . . . . . 31 The Tainan Confucius Temple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18-19 Taiwanese partisans exhort 100 000 citizens in Ketagalan Boulevard, Taipei, to “stand up for Taiwan” . . 38-39 A traditional market in Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Nature Acorus gramineus macrospadiceus, a variety endemic to Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 The Birdwing Butterfly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 The Black-faced Spoonbill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 The butterfly Cepora nandina eunama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 The butterfly Danaus chrysippus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 The butterfly Danaus genutia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 The butterfly Delias pasithoe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 The butterfly Ixias pyrene insignis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Cactus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 The Chiangchun Rocks on Green Island . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Chinese Crested Terns (Matsu Terns) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 The Chinese green tree viper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 The Chingshui Cliffs along the old Suao-Hualien Trail in eastern Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 The clouded leopard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 The Coastal Range of eastern Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46-47 Coastal reefs on Hoping Island, Keelung City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96-97 The Common Kingfisher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Countless Euploea butterflies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64-65 The “Double Heart” fish trap on Chimei Island, Penghu County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Dusk at Nanhu Fishing Harbor on Chimei Island, Penghu County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 The Formosan Blue Magpie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 The Formosan Landlocked Salmon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Green Island’s Chaojih Hot Springs at dawn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Green Island’s Chiangchun Rocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 The Herring Gull . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-73 The high mountain forest community . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 The island of Lanyu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78-79 Jialuo Lake in Tatung Township, Ilan County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 The Light-vented Bulbul (also known as the Chinese Bulbul) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 The Maroon Oriole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Meadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82-83 Moltrecht’s Green Tree Frog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 The Morrison azalea (Rhododendron pseudochrysanthum), a species endemic to Taiwan . . . . . . . . . . . . 54-55 Mt. Yushan is a symbol of the spirit of Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 The muntjac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Nuphar shimadai, an aquatic plant endemic to Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 The oak forest zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51



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The Peihai Tunnel Complex on the offshore island of Matsu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 A Penghu resident looks for shellfish in the tidepools at dawn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 The rare water plant Brasenia schreberi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 The sea shimmers in Lanyu’s Tungching Bay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Sedum morrisonensis, a high mountain species endemic to Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58-59 Shuanglien Pond in Ilan County is an important aquatic plant conservation area . . . . . . . . . . . . . . . . . . . 90-91 A snowy scene in the Syueshan Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Steer’s Liocichla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Swertia matsudai, a species endemic to Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 The Taiwan pleione (Pleione formosana), a species endemic to Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 The Taiwan Yuhina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 The Tapaisha Diving Area on Green Island . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Towering Mt. Yushan—at 3 952 meters Taiwan’s highest peak . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 The towering Syueshan Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 The undersea world of Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Architecture Beinan Park, Taitung County Museum of History and Prehistory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 British consulate in Tamsui . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 A carved “double-carp, four-bat, qihu” window in the form of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . the Eight Diagrams at Lungshan Temple, Lukang, Changhua County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Central Taiwan Changhua County Confucius Temple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 A ceremonial gateway honoring the virtue of Chiu Liang-kung’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . mother in Kinmen (one of Taiwan’s offshore islands) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 The Chaoying Temple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110-111 Chiang Kai-shek Memorial and two Yuan buildings at night, Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Chinan Presbyterian Church in Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Control Yuan in Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 The Erkun Fortifications, Tainan County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114-115 Etron Technology’s “smart building” in the Hsinchu Science Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 “Fairy Ribbon” at Maoluo Creek in Nantou County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146-147 Fort Providencia in Tainan was a fortress built during the Dutch period . . . . . . . . . . . . . . . . . . . . . . . . 106-107 Historical building of National Taiwan University Hospital in Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 The Hsiaoyun Mansion in Shenkang, Taichung County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Hungkuo Building in Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Internal structure of the Luce Memorial Chapel at Tunghai University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Imperial decree and inscription “respectfully making manifest virtue and filial piety” on . . . . . . . . . . . . . . . . . . the gateway honoring Chiu Liang-kung’s mother, Kinmen County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 The Kuanghsi School in Tatu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 The Lin Family Gardens in Panchiao (home of Lin Pen-yuan) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Luce Memorial Chapel at Tunghai University in Taichung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Martyrs’ Shrine in Taoyuan County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128-129 Mengchia Lungshan temple in Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120-121 National Sun Yat-Sen Memorial Hall in Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 National Taiwan University’s bamboo house at Hsitou in Nantou County . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Office of the President in Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130-131 An octagonal plafond ceiling about the stage at Lungshan Temple in Lukang . . . . . . . . . . . . . . . . . . . . . . . . 105 Part of the Lin Family Gardens in Panchiao . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Peitou Hot Springs Museum, Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Seaside stone towers on Hsihu Island, Penghu County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136-137 Shihsanhang Museum of Archeology, Taipei County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Taipei International Financial Tower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Taipei Museum of Fine Art, Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Taiwan Tobacco & Liquor Corp. building, Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126-127 The Tehyueh Mansion in Shuitou, Kinmen County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 A Tsou (one of Taiwan’s aboriginal tribes) men’s house with a wooden structure, . . . . . . . . . . . . . . . . . . . . . . . Chiayi County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140-141 Yingko Ceramics Museum in Taipei County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Performing Arts Ancient temple with lanterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Atayal warriors in traditional costume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Bunun children in full traditional costume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Carved flowers decorated the interior of a temple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 God impersonators lead a procession for a temple festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Guardian deities painted on a temple door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 A “household generals” ritual performing arts troupe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 The joyful Rukai harvest festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Kite-flying among children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172-173



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The Lantern Festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176-177 The Legend Lin Dance Theatre performs the “Anthem to the Fading Flowers” . . . . . . . . . . . . . . . . . . . . . . . . 201 Matsu (one of the leading deities) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Men of the Tao Tribe perform a ritual dance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156-157 A modern dance company—the Taipei Crossover Dance Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Mouth harp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 The number-one tragic female role in Taiwanese opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 A Paiwan man in traditional costume asks for a woman’s hand in marriage . . . . . . . . . . . . . . . . . . . . . . . . 158 Paiwan wood carving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 A performance of “Bamboo Dream” by the Cloud Gate Dance Theatre of Taiwan . . . . . . . . . . . . 193, 196-197 A performance of “Cursive” by the Cloud Gate Dance Theatre of Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Performance of “Diamond Heart” by the U Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Performance of “Listen to the Heart of the Sea” by the U Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 A performance of “Nine Songs” by the Cloud Gate Dance Theatre of Taiwan . . . . . . . . . . . . . . . . . . . . . . . . 192 A performance of “Silent Pestle Sound” by the Neo Dance Company . . . . . . . . . . . . . . . . . . . . . . . . . . 195, 200 A performance of “Songs of the Wanderers” by the Cloud Gate Dance Theatre of Taiwan . . . . . . . 188-189, 191 A performance of “Moon Water” by the Cloud Gate Dance Theatre of Taiwan . . . . . . . . . . . . . . . . . . . . . . 150 Plafond ceilings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184-185 Production of oil-paper umbrellas in Meinung, Kaohsiung County . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164-165 Roof decorations at Pao-an Temple in Taipei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180-181 Rukai on a swing celebrating the harvest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Scene at a temple festival in Taiwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168-169 The sky lanterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 The Taipei Dance Circle performs the “Kuroshio current” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Taipei holds a lantern show for the Lantern Festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Taipei’s Kuantu Temple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Visual Arts Aboriginal Girl, Shui-Long Yen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Absolute Hung, Tong-Lu Hung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Africa Band, A Sun Wu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226-227 Agreement, Bo-Fong Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Between, Chun-Ming Chen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 Byniki, Hui-Chan Kuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246-247 Bustling South Street, Hsueh-Hu Kuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Compound, Teh-I Chu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Dance, Liang-Tsai Lin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 The Depths of My Heart, Tsan-Hsing Kao . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Door of the Taiwan Taiya, A Sun Wu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Drifting Uniform II, Donald Han . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Early Spring at Kenting, Li Mei-shu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Floating Coordinates, Ming-Huei Chen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 Harbor, Chi-Chun Liao . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236-237 Hidden in a Sack, Wen-Hsiang Chen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Indulgent but not Confused, Ming-Tse Li . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Inkscape, Ken-Shen Hung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Kui Mo Summer, Wu Wang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 In the Manner of a Phoenix, Yang Ying-Feng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Landscape, Dai-Chien Chang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210-211 Lanyu Scenery, Shui-Long Yen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Ling Chih-kao: Echo of a Historic Photo, Chieh-Jen Chen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Litchis, Po-Chuan Kuo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216-217 Lotus Pond, Yu-Shan Lin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222-223 Misty Peak, Jo-Chien Chen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Mt. Kuanyin Sunset, Te-Cheng Liau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Old Music, Chin Chen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 On the Island-Exile III, Cheng-Jen Chang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Orange Blossoms, Houei-Kuen Chen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Rainbow, Chi-Hsiang Liu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Replicated Eve, Hsin-Yi Lin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Second-generation Taiwan Futeh Temple, Shy Gong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Secret Strength, Hsien-Kun Chan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 A Spring Night’s Dream II, Tian-Chang Wu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Sun Moon Lake, Shih-Chiao Lee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Shanlinhsi, Tze-Fan Lee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Taichi Series-Taichi Arch, Ju Ming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224 Warm, Chuan-ChuLin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Wulai Waterfall, Houei-Kuen Chen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Zero is Greater than One III, Chiu-Chen Lai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235



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Photographical Credits Invitation Hsieh Tzung-Jung ............................................................................................................................ 6 History The Central News Agency ............................................................................................................... 34 Chou Wen-Yu ................................................................................................................................. 37 Hsiung-Hsih Art Books Co., Ltd. .......................................................................................... 25, 26-27 ...................................................................................................................................... 28, 29, 30, 31 Kuo Jeffrey-Chiu /Yuan-Liou Publishing Co., Ltd. ...................................................................... 18-19 Liberty Times, Taiwan ............................................................................................................... 38-39 National Museum of Taiwan History (Planning Bureau).................................................................. 13 Sung Lung-Chuan ........................................................................................................................... 35 Tam-Kang High School ........................................................................................................ 22-23, 24 John Thomson, Baksa April 1871. Collotype processed in London in 1873 by J.T. at the Autotype Cy [Courtesy Editions René Viénet] ........................................................... 21 Yuan-Liou Publishing Co., Ltd. .................................................................................................. 32-33 Nature Chan Te-Chuan............................................................................................................................... 77 Chen Ming-Ming /Yuan-Liou Publishing Co., Ltd................................................................. 46-47, 48 ............................................................................................................................................ 49, 90-91 Chen Yung-Fu ..................................................................................................................... 66, 69, 74 Chiou Jiin-Ho ...................................................................................................................... 51, 52, 53 Chuang Cing-Lu .............................................................................................................................. 95 Chuang Ming-Ching /Yushan National Park Headquarters ............................................................. 92 Chung Chien-Kung.......................................................................................................................... 63 Gau Jyia-Ciyi /Taroko National Park Headquarters ......................................................................... 94 Hsu Li-Peng..................................................................................................................................... 51 Huang Chao-Chou......................................................................................................... 50, 52, 54-55 ................................................................................................................................ 56, 57, 58-59, 60 ........................................................................................................................................... 61, 62, 63 ...................................................................................................................................... 67, 68, 69,70 .................................................................................................................................................. 72-73 Jian Ming-Nan ................................................................................................................................ 93 Ko Si-Chi........................................................................................................................ 78-79, 96-97 Kuo Chuan-Chiu /Yuan-Liou Publishing Co., Ltd. ................................................................ 41, 80, 81 ...................................................................................................................................... 82-83, 84, 85 .................................................................................................................................86, 87, 88, 89, 91 Liang Chieh-De ............................................................................................................................... 71 Shei-Pa National Park Headquarters ............................................................................................... 75 Shipher Wu ............................................................................................................................... 64-65 Wang Chia-Hsiung.................................................................................................................... 53, 76



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Architecture Artist Publishing Co. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Cheng Jeffery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142, 145 Chi Po-Lin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 C.Y. LEE&Partners Architects/Planners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Fei&Cheng Associates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Fu Chao-Ching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Haigo Shen & Partners, Architects & Engineers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Hsie San-Tai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 J. J. Pan & Partners, Architects & Planners/ Chun-Chieh Liu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Kang No-Shi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105, 108, 117, 120-121 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128-129, 112-113 Kuo Chuan-Chiu /Yuan-Liou Publishing Co., Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98, 104, 109 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116,119, 136-137 Kuo Jeffrey-Chiu /Yuan-Liou Publishing Co., Ltd. . . . . . . . . . . . . . . . . . . . . . . . . . . 114, 124, 130-131 Lai Jyun-Sheng /Yuan-Liou Publishing Co., Ltd. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107, 110, 118 LEF. Laboratory for Environment & Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138, 146-147 National Dr. Sun Yat-Sen Memorial Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Taipei City Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Taiwan Tabacco and Wine Monopoly bureau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126-127 Ting Jung-Sheng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Wang Wei-Chang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140-141 Yuan Wei-Ming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Performing art and Traditional life Artist Publishing Co. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166, 179 Chau Huei-Lin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156-157, 190 provided by Chuang Yung-Ming, photographed by Chen Hui-Ming . . . . . . . . . . . . . . . . . . . . . . . 158 Chou Wen-Yu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Hsie San-Tai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172-173 Ko Si-Chi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171, 184-185 Kuo Chuan-Chiu /Yuan-Liou Publishing Co., Ltd. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167, 175 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180-181, 183 Kuo Tung-Tai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164-165 Lai Jyun-Sheng /Yuan-Liou Publishing Co., Ltd. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176-177, 182 Li Ming-Hsun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194, 195, 200, 201 Lin Ching-Yuan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193, 196-197 Liu Chen-Hsiang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151, 168-169 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187, 192 National Center for Traditional Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174, 178 U Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198, 199 Wang Wei-Chang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159, 160 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161,162,163, 170 Yu Hui-Hung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188-189, 191



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T



aiwan, Art and Civilisation sheds light on Taiwan’s beautiful scenery as well as its colourful history in the form of a true initiatory trip. Through magnificent illustrations, Taiwan reveals its secret beauty, its fauna and flora intertwined with its unique architecture. Home of the traditional and the modern, the gorgeous island is also the home of a very dynamic artistic scene. One thus fully grasps why the Portuguese named her Ilha Formosa, beautiful island.