Yang San-lang is recognized as one of Taiwan's foremost landscape painters. In the course of his seventy-seven years he has travelled the world over, easel and brushes in tow, vigorously pursuing Nature's brightest faces. Testimony to his unfailing spirit and dedication are the nearly 2,000 canvases Yang San Lang has painted.

Yang San Lang's early fame and leadership abilities gave form to the nascent fine arts movement in Taiwan nearly sixty years ago. Today he is the justly respected grandfather of a flourishing and varied art world.

Whether his subject be a sparkling snow covered Hokkaido, the red brick and banyan trees common to Taiwan or an animated seascape, vibrant colors and distinct brushwork characterize Yang San Lang's work. Art History scholars attribute this to inspiration of setting. In his youth, Yang studied in Japan and France, where he immersed himself in museum masterpieces, aesthetic scenery and the society of renowned artists. Those who know him best, however, insist that his realistic portrayals spring from a natural genius.

The artist says "I go everywhere in search of color!" In Taiwan his favorite sites are the beaches of Yeh liu and a mountain near Miauli "There I find the greatest variety of color", he notes. Thus particular about clarity of shade and hue, he is often frustrated by Taiwan's tropical humidity. The artist spends most of each year travelling. Recently Mr. and Mrs. Yang ventured to Nepal. Camping at the foot of the Himalayas, the artist movingly recreated an awesome vista.

Yang San Lang can rarely be found in his studio in Yungho. Apart from eight hours of sleeping, he paints all the time, and out of doors whenever possible. While many landscape painters use photographs, Yang San-lang insists on the superior experience of painting out of doors. "Nature is my greatest teacher" he says reverently. "When facing a beautiful landscape my whole heart is filled with rich colors. I'm compelled and uplifted. I get unlimited inspiration from the land."

Only bad weather keeps Yang San-lang in the studio, and sometimes that isn't even reason enough. His wife remarks, "His personality is such that once he says he'll do something, nothing can stop him. On rainy days he paints figures and stilllifes in the house. but when there is a typhoon he goes to the beach to paint waves! One time at Yehliu the wind was so strong he had to secure his canvas between two rocks. I was terribly scared!" On the average the artist paints more than eighty percent of a work on location.

Yang San-lang's perseverance is visible in his effort to overcome a physical handicap. One of his fingers rendered useless in a childhood accident, the artist copes by binding two of the fingers of his right hand together when he paints. He explains his dedication to his art saying "My generation handled people, affairs and studies with an attitude of diligence and respect. We took painting very seriously".

Yang San-lang's interest in art sprouted under adverse conditions. He explains "Its not like today. (In those days) artists were not received by society... Unless you had a supportive family, it was nearly impossible to pursue painting". Born into a scholarly and well-to-do family, Yang San Lang initially encountered resistance when he expressed his desire to paint. At sixteen he resolutely left home to study abroad. Under the rigorous training of the Japan Art Institute, his hard work met with success. Before his seven years of formal training were completed, he was recognized as one of Taiwan's top four artists.

He established a name for himself in Taiwan by mailing works home to participate in the Taiwan Fine Arts Exhibit sponsored by the Japanese colonial government. In three consecutive annual shows he received highest honors. At twenty-three, he was chosen to be one of three exhibitors for the prestigious Chuen Yang Exhibition in Japan. And two years later his works were displayed at the Fall Fine Arts Festival in Paris. After ten years abroad, Yang San-lang returned to Taiwan in 1933. With a collection of several hundred works, and his precocious show merits, Yang easily drew a warm welcome in Taipei, and the forgiveness of his family.

Upon his return, Yang San Lang focused his talents on developing the art world in Taiwan. At that time the country was devoid of a fine arts culture. Artists in the relatively backwards Japanese colony were limited, to painters from the mainland sheltered by wealthy patrons, conscripted temple artists, and some "untouchable" Japanese. Thus, Yang San-lang, together with six prominent peers, founded the Tay Yang Fine Arts Association. He recalls: "At that time we wanted to increase exhibition opportunities. There was a need for an organization offering artists a chance to learn from one another". The Yang family home became the headquarters for this group. And under Yang's charitable direction an annual show was realized. This was the first public cultural foundation in Taiwan and due to Yang San-lang's resources, it functioned on a par with the annual municipal show.

World War Ⅱ interrupted the development of this group, and post war diversification in art lessened its authority. Yang San-lang accepted these changes, yet he remains loyal to his traditional schooling. He emphasizes an anachronistic view in the modern art world - the deference of new to old. He says "Any art must openly accept the criticism and leadership of its predecessors in order to develop". He personally abides by this humble tenet. Of his own work he says "I am only satisfied with one or two." And to his students he says, "I am a bridge allowing you to pass over".

A cornerstone of the early art world in Taiwan and an accomplished and prolific painter, Yang San-lang seriously underestimates his own influence. Yang San-lang is an outstanding example of an old school artist on whom the genesis of a fine arts culture in Taiwan was predicated.

(Hilary Frascr)

[Picture Caption]

1. "The Little Wife". Mrs. Yang modeled for this portrait during the first years of marriage. 2. Mr. and Mrs. Yang enjoy a remarkably happy marriage and the admiration of the art world.

Natural Landscapes are the artist's principal subjects. 1. "Early Morning Fog" painted in 1982. 2. "Black Tide" painted in 1977. 3. "Seacoast Sunrise" painted in 1977. 4. "Traditional Dwelling" painted in 1973.

1."Spring Fields" painted in 1977. 2. "View of New Orleans" painted in 1983.

2. Mr. and Mrs. Yang enjoy a remarkably happy marriage and the admiration of the art world.

Natural Landscapes are the artist's principal subjects. 1. "Early Morning Fog" painted in 1982.

2. "Black Tide" painted in 1977.

3. "Seacoast Sunrise" painted in 1977.

4. "Traditional Dwelling" painted in 1973.