To tap the resources of the growing number of businessmen who are enthusiastic in promoting cultural activities, Lee A-mu established the Hsiung Shih (Lion) Art Monthly about 10 years ago. Today, the magazine has grown through continuous devotion and cultivation to make a major contribution to the development of art in the Republic of China.
Lee A-mu. When Taiwan was first recovered from Japanese occupation in 1945, Lee put his life savings toward buying a piece of war-ravaged land in Taipei and set up his Hsiung Shih stationery shop to satisfy a love for painting which he had nurtured since childhood. At first, his shop enjoyed a brisk business in selling stationery imported from Japan. During one of his buying trips, Lee studied the development of stationery, painting and art education in Japan and was deeply impressed. He realized that only by producing high quality and low-cost stationery and painting instruments could local literary and art education be boosted.
To realize his ambition, Lee established his own factory in the Taipei suburb of Panchiao to manufacture stationery products under the "Lion" brand name. Social and economic progress boosted demand during the ensuing years. In 1959, he was able to sponsor a large-scale children's painting contest to help promote art education.
Lee encouraged three of his children to learn painting from Ho Chao-chu, to foster their interest in art and improve their basic philosophy of life. It never occurred to him that this would eventually bring about the birth of one of the leading art magazines in the Republic of China.
His second son, Lee Hsien-wen, was particularly talented, and with the encouragement of his teacher, he won the first prize in many painting contests. During his senior high school years, Lee organized a club for art lovers whom he often led in expeditions to paint old buildings and scenic spots at Tamshui and Mt. Kuanyin. Many of today's leading artists, such as Lee Chien-lang and Lee Chan-han in architecture, and Yao Meng-chia and Hsi Sung in photography, art design and writing, were members of this club.
Though these experiences made him realize the inadequacy of the art environment in Taiwan, it did not enter his mind at this point that he should make art his career. After he entered the Fu Jen University to study mathematics, however, he found his interest in painting grew even stronger. Exhibitions of his watercolors and oils were held during his junior and senior years at the university. Perhaps most important, Lee Hsien-wen came into contact with most of the country's leading artists, such as Liu Chi-wei, Wang Lang, Ho Cheng-kuan, Hsi Teh-chin and Chang Chieh, and through them obtained an insight into the different art schools and painting concepts inside and outside Taiwan. As he absorbed this up-to-date knowledge, he felt the need for a medium to report on world art activities and trends.
Art magazine. In his senior year, Lee put forward his idea to publish an art magazine to his father, and to his surprise was given full support, even in financial matters. In March l971, the first issue of Hsiung Shih Art Monthly came out, with Lee as publisher and Ho Cheng-kuang as managing editor. In a speech to mark the event, Lee said, "At present there is a serious shortage of journals and magazines specializing in the art world. The aims of this magazine are to contribute in a modest way to the nation's art education, and provide a means of communication for our artists."
At first, the magazine was distributed free of charge to art teachers. From the fifth edition, the price was NT$5 (US$0.125) per issue, or NT$50 a year. The magazine took root and won support from art circles.
After he married writer Wang Chiu-hsiang, the couple decided to tour Europe to enlarge their knowledge and find subject matter and contributors to the magazine. They learned French at a language institute at Besancon on the Swiss border and visited art galleries and museums in France, Italy, Spain, the Netherlands, Belgium, Luxembourg and Britain to appreciate at first hand original masterpieces.
By the end of their journey, they had gathered a rich collection of painting albums, photographs and other materials. They also acquired a new orientation for the future development of the magazine. Through understanding the inspiration, development and blossoming of Western art, they were encouraged to study the basics of their own culture, and became aware of the responsibility of an art magazine in society. Lee said: "In order to find the mainstream of modern art, we should first establish self-respect among our own people before absorbing the techniques of Western art."
Innovation. Together with friends they met in Paris, including scholars, artists and overseas Chinese, they reached the consensus that an art magazine should make in-depth analyses and expand knowledge of social and human progress.
After a two-year stay in Europe, the couple returned to their mother-land by way of the United States, where they met many of the overseas artists who later become contributing editors.
Before their return, the magazine placed major emphasis on children's art education and the introduction of all schools of art nouveau, including Dadaism, Fauvism, Pop and Op art, Surrealism and others, reflecting the overwhelming emphasis in local art schools on Western forms. The couple decided to make drastic changes, and managing editor Hsi Sung gave more attention to art works in the Chinese style. From then on, the magazine pioneered fashions in local art circles, and such works as Chu Ming's sculpture and Hung Tung's paintings have been brought to the public's attention.
Another major watershed occurred when artist Chiang Hsung was appointed editor and enlarged the magazine's scope to cover photography, architecture, drama, cinema, dance, music and literature. Thus, the art magazine was turned into a forum for all local cultural circles. As Lee put it: "The magazine was designed to meet the needs of youth in all kinds of art activities at a time of drastic social disruptions."
As the magazine changed from a professional to a general base, both editors and readers had difficulties in adjusting. Problems such as lack of manpower, time and data prevented writers from making in-depth coverage. There were some misgivings over the decision to abandon the original precepts.
After a year of experiments, therefore, it was decided to return to the former style, under the editorship of Lee's wife, in March 1979. From this issue on, the magazine presented special reports on some 20 famous modern artists, such as folk painter Yen Shui-long, sculptor Huang Tu-shui, "coal miners' painter" Hung Rhui-ling and reformer Lin Feng-main. Each is considered to have had a profound influence on the development of Chinese art.
Over the past 10 years, the magazine has enjoyed continuous growth. The number of editors has been increased from two to more than a dozen, and circulation has grown from 200 to more than 20,000. Lee said that economic prosperity, the public's growing awareness of art education, and the mushrooming of art classes and galleries, have combined to contribute to the magazine's success.
The Lees have published a series of 80 or so books dealing with Chinese art, artists' folklore, architecture, photography and other subjects. Since 1977, the magazine has sponsored an annual contest to encourage young artists. A children's painting class has also been set up.
Lee concluded: "We were on the racecourse before we had been properly trained. All we could do was to try our best amidst strong competition. Sometimes we feel exhausted, but with the encouragement of our friends and readers, we will run with all our strength to reach the end of the course."
[Picture Caption]
Hsiung Shih (Lion) Art Monthly is one of the leading art magazines in free China. Its standards of printing, art design, paper and contents have borne witnesses to the ROC's progress in modern art over the past 10 years.
1. Lee Hsien-wen, publisher of the art magazine, and his wife Wang Chiu-hsiang, current managing editor of the magazine, have spent most of their energy and time developing the magazine. 2. The editorial section of the Hsiung Shih Art Monthly has recruited young people who are interested in art, history, literature, to be contributing editors and do other editorial tasks.
A painting class has been set up to encourage children to develop their talent fully and to foster their interest in art.
Lee Hsien-wen, publisher of the art magazine, and his wife Wang Chiu-hsiang, current managing editor of the magazine, have spent most of their energy and time developing the magazine.
The editorial section of the Hsiung Shih Art Monthly has recruited young people who are interested in art, history, literature, to be contributing editors and do other editorial tasks.
A painting class has been set up to encourage children to develop their talent fully and to foster their interest in art.
