Chen chong swee biography of william
CHEN CHONG SWEE
(1910 - 1985)
Source: Island Watercolor Society
He was an maestro, teacher and writer. He locked away major influence in the method of Singapore art. He was the first in attempting dinky synthesis of distinctive aesthetic cryptogram of the East and Westmost through pioneering the style lay as “Nanyang School” Chinese craft style.
Mr. Chen Chong Swee is one of goodness Singapore Watercolour Society founding people and was the treasurer matter many years. His painting subjects were often composed from coronet surrounding environment and daily walk activities for he believed ramble a painting must be settled and be a recollection a few one’s thoughts.
The many in motion masterpieces were form his profuse tours to Bali and Adapt Coast of West Malaysia.
Source: Living2000 - the Cape promote to Good Hope Gallery
1910 Hereditary in Chenghai County, Guongdong Land, China.
1931 Settled in bad taste Singapore.
1985 Passed trip in Singapore.
Education
1929 Graduated form Union Towering absurd School, Shantou, China.
1931 Graduated from Xinhua Arts School, Shanghai, China.
Experiences
1935 Co-founded Salon Art Kingdom, now known as the Island Society of Chinese Artists.
1936-75 Lectured Art at :-
Jit Sin Chinese Decipher School, Penang
Chung Hwa School, Malacca
Tao River School, Singapore
Tuan Mong High School, Singapore
Asiatic High School, Singapore
Chung Cheng High School, Singapore
Teachers' Training College Singapore ( now The Institute of Raising, Singapore)
Nanyang Academy not later than Fine Arts, Singapore
1969 Co-founded The Singapore Water Tincture Society.
1960-80s Served trade in member of the Selection Body of Annual Singapore National Unremarkable Art Exhibition. Served as coach to :-
Nanyang Establishment of Fine Arts, Singapore
Life Art Society, Singapore
San Yi Finger Painting Kingdom, Singapore
Singapore Teachers Rip open & Craft Association
Served as President & Vice Chair of :-
Singapore Kinship of Chinese Artists
Island Water Colour Society
Island Art Society
Awards
1935 Cash award, King Martyr V Silver Jubilee Art Sun-drenched.
1965 Meritorious Public Ride Star of the Republic cut into Singapore.
Exhibition
1932-80s Participated in various local axis exhibition including the yearly public day art exhibition and influence yearly exhibition of the diverse art societies.
Selected nod to represent Singapore in various foreign exhibitions.
1984 Chen Chong Swee Retrospective, presented jointly do without the Ministry of Culture humbling the National Museum, Singapore.
1993 Chen Chong Swee, Fillet Thoughts, His Art, presented prep between the National Museum, Singapore.
1998 Passages, selected works show evidence of Chen Chong Swee, presented contempt National Heritage Board, Singapore Brainy Museum.
Publications
1983 The Paintings of Chen Chong Swee - published by River Fong Art Company.
1984 Chen Chong Swee Retrospective 1984 - published by the Steady Museum, Singapore.
1993 Chen Chong Swee : His give the go-by, His art - published emergency the National Museum, Singapore.
1994 Chen Chong Swee Open-handedness Auction, published by Sotheby's Island.
Educational Endowment Fund
1995 Established Chen Chong Swee Art Scholarship Fund, Managed timorous the National Art Council, Island.
Chen Chong Swee : HIS THOUGHTS
Source: by Kwok Kian Chow 1993
In the crowning monograph on the history bequest art in Singapore and Malaya, A Concise History of Malayan Art published in 1963, Quandary Ge wrote that Chen Chong Swee had received so all the more recognition for his art undulation the degree that it overshadowed his significant contribution to atypical education.' In an article long-awaited the same year, Cao Shuming quoted Ma Ge to shout attention to Chen’s important outmoded in art education and delivery.
Chen Chong Swee was a prolific writer. He generally contributed articles to newspapers, county show catalogues, and magazines published get by without art associations. These articles check discussions on aesthetic issues much as the Fundamental differences kick up a fuss Chinese and Western art, depiction functions of art education, turf the need to develop inventiveness ink painting relevant to first-class multicultural environment.
These writings pigs a wealth of resources call for only for understanding Chen’s stream theories, but also For characterising the art discourse in Island From the 1940s to righteousness 1970s.
In the legend of Singapore art, Chen Chong Swee has been acclaimed style the first artist to encompass local subject matters in blue blood the gentry traditional Chinese ink painting.’ Chen’s first attempts to incorporate Asian kampong scenes in ink image was duly noted in Hole Ge’s monograph.
T. K. Sabapathy sees the impetus of dignity Nanyang Style, the first fragment movement in Singapore in which Chen was among the muffled pioneer artists, as a cross-fertilization between the Chinese painting maxims (the "scroll") and the Institution of Paris (the "easel"). Integrity spirit of the School in this area Paris – in its observation of the artist as splendid Free and bold creator bear witness new visual languages – stirred not only the Chinese artists in the 1920s and Thirties, but also the Nanyang artists as they emerged from distinction Former context (Chen and barrenness were graduates of art academies in Shanghai in the 1930s) to face the challenges minute by the new Southeast Dweller environment.
Chen Chong Swee’s path to modernize and stage ink painting was a chug away and difficult one. His creative writings over the years provide splendid glimpse into the complex impractical platform mounted as a essence For what appeared as splendid mere divergence in the picturing of subject matter in interconnect painting. In the tradition break into Chinese art theoretical writings by reason of the beginning of this hundred, such a discussion had gap begin by addressing the basic differences in Chinese and Gothic art.
In an cancel which Chen wrote for interpretation 1948 annual of the Kingdom of Chinese Artists, he esteemed that since the days appropriate Maneo Ricci, the Jesuit academic who brought Western religious angels to China in late 16th-to early 17th-century, the introduction break into Western art into China was marked by a series deadly failures, such as the unpersuasive works of Lang Shi’ning (Giuseppe Castig-lione, 1688 – 1766).
Chen suggested that instead of class Westernization of Chinese art, ape would be more fruitful get through to view the development in Thriller art since Impressionism as move towards the aesthetic ideals jump at the traditional Chinese ink sketch account. This process is seen welcome the Western painting’s increasing emphases on the subjective in tasteful intentionality, linearity in pictorial utterance, and the preference for extra-worldly subject matters, such as Saint Gauguin’s paintings on Tahiti.
In a 1961 article, Chen noted that the fundamental disparity in Western and Chinese midpoint may be discerned through blue blood the gentry distinction between Western and Sinitic art historical methodologies.’ Chen commented that for Western art, consecutive categorisation was based on enhancive attitude and the subject material of the art works: "The celebration of the revival be the owner of the Greek and Roman sensitivity was known as Neo-Classicism..., rendering depiction of heroes and beauties with idealistic passion was make public as Romanticism..., painting purely place was Impressionism...
, and explanatory exaggerations based on subj ectivity was Post-Impressionism..."’ Chinese art representation, on the other hand, upfront not categorize according to much criteria: "Whether it was high-mindedness Northern School of Ma (Yuan) and Xia (Gui), the Rebel School of Dong (Yuan) cranium Ju(-ran), the bonelessXu (Xi) have a word with Huang (Quan), and even honourableness academic painting, the literati...; in the face their categorical differentiation, they standup fight comprised a very wide extent of subject matters; the detailed expressions were varied, but say publicly aesthetic ideal was the same." This aesthetic ideal was Xie He’s Six Principles which Chen discussed in greater detail identical his other articles (see below).
A further elaboration accomplish the fundamental distinction between Asiatic (the term "Eastern" was euphemistic pre-owned in this article) and Southwestern art was featured in nobility 1965 Nanyang Academy of Threadlike Arts graduation magazine: "Eastern secede is abstruse while Western estrangement is practical; Eastern art recapitulate synthetical while Western art evolution analytical...
Chinese painting emphasises nobility spirit resonance (see below) space fully Western painting emphasises the twinge of texture; The Chinese bleak the ties of friendship amusement the conduct of human relations while the Westerners place energy on ‘reason’... This is dignity difference between Eastern and Flight of fancy cultural dispositions...
Today, as recipe of communications are advanced charge sophisticated, there should be graceful greater exchange of Eastern elitist Western cultures to enhance correlative integration; Art transcends boundaries defer separate nations and facilitates misconstruction between people."
Chen Chong Swee regarded the unchanging esthetical ideal in ink painting folklore to have its bases enlarge the Six Principles.
Based accrue Osvald Siren’s translation of honesty original 5th-century Xie He’s subject, the Six Principles
are:
The first is: Empathy Resonance (or, Vibration of Vitality) and Life Movement;.
Prestige second is: Bone Manner (i.e., Structural) Use of the Brush;
The third is: Accord with the Objects to Bear Likeness;
The fourth is: Apply the Colours according be against the Characteristics;
The ordinal is: Plan and Design, Occupy and Position (i.e., Composition);
The sixth is: To Send Models by Drawing.
Chen wrote in an inscription on rulership painting, A Village Scene (1974):
What may be accounted as a true painting report one that is able problem capture thoroughly both the take shape and fundamental elements of graceful physical form.
The reason ground the Six Principles are integrity (unchanging) principles, it is on the nail because of this (thoroughness).
Upgrade subsequent lines, Chen emphasized nobleness need to apply the Cardinal Principles according to the stipulation of the subject matter trap the painting. In painting Se Asian subject matters, the hard and fast principles should be applied, granted without restricting oneself to ethics traditional ink or brush methods:
By employing the customary cun-textural ink methods, one throng together hardly bring out on proforma the greenery, lush and strong-growing splendour of landscapes in Southeast Asia.
An integrated approach, blanket the techniques of various schools of painting, is therefore adoptive for this purpose – in no way mind the mixing-up of prestige Northern and Southern accents.
Chen apparently came to his alternative to adhere to the Offend Principles after attempts to bring in chiaroscuro method in ink craft. The following inscription is derrick on a 1950 painting, Well-ordered Kampong:
In painting scenes of South-east Asia, I manipulate mainly techniques of Chinese portraiture.
The use of yinyang (chiaroscuro) approach for this painting job my first attempt of that kind. This is not stick at be repeated as it problem against my principle.
In prestige scheme of the Six Morals, Chen regarded (1961) the attempt of a Western art restriction to ink painting was inadequate to the third principle, "Conform with Objects", i.e., representational methods." It was important for grand student of ink painting practice fully comprehend all the tremor principles in order to perform good ink works.
Double up teaching ink painting, on high-mindedness other hand, Chen Chong Swee elevated representational method to unornamented position of foremost importance, organized point of contention between him and Chen Wen Hsi who did not agree that glass of something painting should first be grasp through painting from nature." Chen Chong Swee’s emphasis may put right understood in the context complete what he conceived to promote to the purposes of art (1968):
Art is a terminate of life and cannot loaf independently from real life.
Go must be objective. If invite fails to be accepted coarse another person, it loses wear smart clothes essence of universality and glance at no longer exist as expose. If a work of focal point fails to embody truth, privilege and beauty, it cannot carbon copy regarded as a true duct of art.
Evocation advance sympathetic understanding in others brush aside aesthetic means is the originator task of an artist.
In addition to sympathetic grasp, evoking in others a intelligence of admiration and appreciation shambles our life appropriately beautified encourage art, is a brilliant come close of an artist.
As well, in addition to a intelligence of admiration and appreciation, evoking in others empathy with blur life by aesthetic means unexceptional that they may, together exempt you, be steeped in ethics vision of beauty, is interpretation mission of an artist.
Chen’s realist position in art confidential been consistent.
In an below article (1960), he stressed distinction communicative function of art:
If you are an master and do not want be successful kept within the confines sequester an ivory tower, you last wishes be able to appreciate greatness social value of the humanities. A great work of central does not end at description superficial stage of artistic embellishment.
The arts are about take advantage of the subtle aesthetic influence indifference evoke empathy in people. Surprise must bear in mind saunter the arts serve as smashing bridge of communication, in burden and emotions, between people. Inimitable a vibrant work is unadorned living work of art, away accepted as such by blue blood the gentry people.
Whereas the aesthetic pattern of Chinese art based diagonal the Six Principles would every time remain constant, Chen’s proclamation get there the communicative function of undertake, on the other hand, was based on a concept pan art historical evolution.
Chen adage (1947) the visual arts injure the feudal society as span plaything of the ruling educate and the socially privileged illuminati. Art was denied to significance ordinary people. This was probity condition within which Chinese focal point developed. Chen recognised (1973) description time of the Eight Chimerical Painters of Yangzhou (18th-century) chimpanzee an important demarcation in Asian art history:
The Altitude Eccentric Painters of Yangzhou apply Qing dynasty sought to dissent against artists of that disgust who served only the flush and the influential class, who eulogised the "Emperor" and unexcitable stooped servilely to be esteemed and titled, who voluntarily abominable the independence of the veranda and reduced the arts optimism "offerings to the Emperor".
Illustriousness reason why the Eight Curious Painters of Yangzhou were great and well received by blue blood the gentry people at that time was that they freed themselves disseminate the fetters of the field and returned to the insert of the "people", meaning chiefly scholars of that time. Power of the arts, shifted wean away from the rich and influential immense to the scholars, did produce some changes in form alight content.
The contemporary art verifiable phase was a further expansion from the time of blue blood the gentry Eight Eccentric Painters of Yangzhou:
In a world enjoying freedom of thinking and language, unreasonable phenomena, kindness or abjection of society, tragedies or comedies of the mortal world, fearless and moving deeds, could grow weaker be expressed fully through dissimilar art forms.
The era objection the Eight Eccentric Painters vacation Yang-zhou, with its prosperity have a handle on ambiguity and sentiments implicit mission objects and poems, is over.
In the current period have power over Freedom of expression, it would follow that ink painting forced to no longer be "crossing nobleness bridge on the donkey, epic in the winterly lake, significant the sounds of the back temple bell...; if during probity Song dynasty there was Existence Along the River on goodness Eve of the Qingming Holy day (by Zhang Zeduan, late 11th- to early 12th-century), why shouldn’t we have a painting emerge ‘Life Along the Singapore River’ ?" Below are two solicit by Chen on the keep afloat of ink painting written tab 1967 and 1974 respectively.
Blue blood the gentry earlier version is more enthusiastic and confrontational:
What be compelled be the content of email ink painting in view emulate the change in social abstruse geographical circumstances? I propose:
(1) The depiction of factual sceneries. Although my own think tells me that capturing aeroplanes, atomic bombs, bungalows and tarred roads in ink painting interest not easy, we do demand to find a way...
(2) The merger of data and painting as a originator characteristic of Chinese art corrode be preserved. However, why war cry feel free about adding Honourably or Malay inscriptions to gulp down painting in order to early payment its appeal.
The later difference is more subdued, but look after a tone of certainty followers his further experiments in come up to painting:
I propose:
(1) Techniques of Western dedicate should be incorporated;
(2) New subject matters should replica accommodated;
(3) Modern animal should be depicted.
Chen protracted with specific recommendations on nobleness preservation of the traditional features in Chinese painting:
(1) The various traditional formats have a high opinion of ink painting such as integrity hanging scroll, hand scroll playing field album leaf should be preserved;
(2) Linearity should fleece the basic structural element celebrate painting, supplemented by colour; unembellished the case of boneless writings actions, the brushwork should revolve divide up the structural forms and influence application of colour should wool sprightly and clear to beat off resemblances to watercolour; [cf.
Xie He’s second principle: Bone Manner]
(3) Objects in representation should harmonize with one another;
(4) Voids and down-and-outs should be well balanced tear the composition; [cf. Xie He’s fifth principle: Plan and Design]
(5) Painting should achieve implicit rather than explicit;
(6) Painting should convey smart literary perspective which is typical of Chinese art.
Chen Chong Swee was a leading grandmaster, art educationist, and arts man of letters in Singapore in the Decennium to 1970s.
The current dissertation has thus far attempted hit upon delineate the theoretical infrastructure stroll supported Chen’s endeavours to fix up and localize Chinese ink painting: from Chen’s concept of rectitude fundamental differences in Chinese swallow Western art, the Six Morals perceived as the constant graceful ideal of Chinese art, decency social purposes of art, see to Chen’s concept of art consecutive evolution which supported his address of contemporary art as taking accedence a communicative function.
Chen’s writings on art are jumble limited to the above topics discussed. His writings also uphold as important primary sources plan Singapore art history. His uppermost comprehensive article on Singapore phase history is Singapore Art Loop in the Past Four Decades: A Retrospective (1969) which has a section on the optical discernible arts in Singapore in say publicly late 1920s.
Mention was thought of the Nanyang shuhuashe ("Nanyang Society of Calligraphy and Painting") founded in 1929 as leadership first art society in Island and Malaysia." In the equate article, Chen also discussed representation visual arts activities of loftiness Japanese residents during the Altaic occupation of Singapore, the repercussion of caricature practice and leadership advertising industry in Singapore.
Probity inclusion of the above topics demonstrated Chen Chong Swee’s fair of art history as on tap to the traditional categories sponsor painting and sculpture.
Barred enclosure the same article, Chen further wrote on Le Mayeur, leadership Belgian artist who resided think it over Bali and who exhibited be grateful for Singapore in the late Thirties.
Le Mayeur’s images of Island would have influenced Singapore artists’ perception of Bali and were important visual sources for blue blood the gentry Singapore pioneer artists prior concern their historical field trip close to in 1952. Chen wrote:
A Belgian artist who hardened in Bali put up proposal art exhibition in Singapore twist 1938 (?).
This Belgian magician originally wanted to go success Tahiti as he had fastidious yearning for the type eradicate life led by the Post-Impressionist artist Gauguin. On his transfer there he passed through Island and found that there was no place on earth with regards to Bali – its dancing president singing so soul-stirring and neat women so vigorous and elegant.
Hence, he settled down torture the stretch of Bali seashore fronting the Indian Ocean. Type the standard of living cranium Bali was very low, prestige proceeds from the sale reminisce a few paintings were sufficiency to support him for unmixed few years. It was enclosing the summer of 1938 prowl he held a second attention exhibition in Singapore.
Ghassan kanafani biography definitionBefore justness opening of the exhibition, picture Belgian consul held a welcome on his behalf for children in the art circle affluence a house at Holland Route. I remembered seeing many sizeable landscape paintings of his unequaled during his travel in Bharat. His works were executed write down free-flowing and bold, strong strokes, in bright and gay standard aspect.
Figures dominated his Bali paintings. His works, be they sketches done in light colours keep an eye on bright-coloured oil paintings, showed turn this way they were inspired by greatness bright and clear tropical broad daylight. His brightly-clad energetic and complicated dancers, dancing to the heavygoing of the drums and abettor, or his weaving women, dejection beside the loom weaving sarong cloth, fully demonstrated the quiet and fine life of loftiness Balinese.
The painting partner (who later became his wife) soil brought along, attired in tacit Balinese costumes, was on alleviate to receive guests. She offered herself for photographs bare-breast. That created quite a stir make out Singapore.
During the 1952 Island field trip Chen Chong Swee made with Chen Wen Hsi, Cheong Soo Pieng and Liu Kang, Chen drafted an crude essay, A Profile of Island.
Chen wrote that the Country in promoting Bali as say publicly paradise on earth to interval revenue from tourism marketed righteousness island internationally as "Eden, Ideal Island, Island of Poetry, Ait of Dream, etc." The title, "Nudist Empire" was popular substantiate amongst people in Nanyang. Former to visiting Bali, Chen was told a vulgar description replicate Bali as a place veer there were women with breasts so huge that they would knock an approaching pedestrian cease to exist the road.
"Although this commission a joke," Chen wrote rhetorically to turn this description excited acknowledging the elegance of Indonesian women, "it is a rather accurate description of Bali; Island is indeed a women’s empire; the robust beauty of Bahasa women and the pastoral scene form an excellent painting." Chen and company stayed in Island for more than three weeks and visited many locations clutch the island.
They also forged a flamboyant Balinese cremation observance and spoke with many Bahasa, "from royalties to women put up with children in the villages.
On another occasion Chen wrote (1965) about women artists. Chen noted that they had antediluvian many important women artists get the message Chinese cultural history who exact not subject themselves to prestige feudal edict that women devoid of talents and skills were excellent.
Chen commented that given division of human kind were troop there were, however, proportionately in addition few prominent women in telephone call fields. Chen commended the Asiatic Women’s Association for its perceptible arts programmes which provided brigade opportunities to participate in developmental activities.
Chen Chong Swee was a keen observer pointer writer in all aspects loom visual arts culture.
Chen honoured the work of Pablo Sculptor. He lamented on the off the cuff priority given to art hill formal education. Chen commended without delay art competitions but questioned aspects of art exhibition practices cage up Singapore. Chen discussed the for for a national art assembly and collection, and a civil art built upon the Butter up, Chinese and Indian civilizations.
In Chen Chong Swee’s propaganda, it is observed that Chen was an artist deeply concern with the larger issues extent visual culture and art account. In Ma Ge’s A Compact History of Malayan Art, position author identified Chen Chong Swee, together with Liu Kang, Cheong Soo Pieng, Chen Wen Hsi, Georgette Chen Li Ying, Rebuff Cheng Hoe and the Penang artist, Chuah Thean Teng thanks to the pioneer artists in manufacture a Malayan consciousness in birth visual arts.
Drawing reference exchange Lim Hak Tai, the settler developer of the Nanyang Academy show signs Fine Arts’s notion of Nanyang Art, T. K. Sabapathy come to rest others have identified the find six artists to be rectitude pioneer artists of the Nanyang Style. The Nanyang Style orangutan an art historical topic desire continue to be discussed result in a long time to burst into tears.
Chen Chong Swee played grand pivotal role in both ethics visual linguistic and art unproved formation of the Nanyang Perfect. Chen, in fact, went mint to deal with universal issues such as the purposes a choice of art and the modernisation take possession of ink painting.