Artist on Two Tracks

Though he received academic training in classical Chinese painting, Chen Chao-pao has achieved most of his reputation through his caricatures. Veteran arts experts who attended exhibitions of his works were full of admiration for his versatility.

It seems strange at first that such a humorous artist should appear to be so shy and serious. Born in Chang-hua County in central Taiwan, Chen suffered no privation during his childhood. When his father fell sick, and was forced to quit his job at a nearby railway station, however, Chen's mother had to do menial jobs to support the family. As a result, all his brothers and sisters discontinued their studies after finishing primary school.

"Though my father wanted me to go out to work to augment family finances, my mother persuaded him to let me stay on at school because of my good academic record. In the end my father would boast that his son was going to be famous in the field of painting," Chen recalls.

Chen was not allowed to devote all his efforts to his studies, how ever. After school, he had to help with the cooking and laundry and herding cattle. Pointing to a scar on his temple, he said: "This is an injury I received from an animal which ran wild." Even during his years at a middle school in Yuan-lin County, Chen had to work at a pineapple factory to pay for his tuition fees.

During the mid-day break, he would always retire to a corner of the classroom to eat his lunch. When his classmates discovered that this was because he was ashamed of the rice and sweet potatoes which was all he could afford, they clubbed together to contribute their pocket money to help him. Unable to conceal his emotion, he said: "Without their help, I couldn't have dreamed of finishing my studies."

Art education: The teachers also showed their concern for Chen's welfare. "During my junior high school years, I met Liu Po-luan, an art teacher who was to influence my whole career. Although he is not well-known in art circles, he taught me some invaluable things, such as using the techniques of Chinese ink paintings to express modern concepts. When he found I had some talent in painting, he decided to teach me free of charge. A lonely and solitary man, Liu treated me as his own son. I learned from him not only how to use my hands, but also my mind," Chen recalls.

As his interest in painting deepened through conscientious practice, Chen decided to further his studies at the Taiwan National Academy of Arts. When he finally passed the college entrance examination, all his family could afford to help him was a small suitcase and a ticket to Taipei. With the help of a journalist at the Taiwan Shin Sheng Daily News, Chen was able to collect enough to pay for his tuition, however.

His three years stay at the academy were fruitful, but difficult, While other students spent their leisure time traveling or dancing, Chen had to find part-time work to cover his living expenses. Though his meager earnings allowed him to lead only a humble life, the experience he gained while working as an art designer at TV stations and construction firms proved invaluable. His straitened circumstances were alleviated when an overseas Chinese returned to Taiwan to learn the techniques of Chinese paintings from him. Moved by Chen's determination, the student gave him a hand- some stipend to allow him to complete his education.

Caricature: He was first inspired to turn to the field of caricature by the works of a renowned French artist in the field, which were published in the Crown magazine and the United Daily News. Recalling his days in the army as a junior officer on the offshore island of Matsu, Chen says: "While others used words to describe their life in the armed force, I used caricatures."

After his discharge from military service, Chen started submitting his works to newspapers and magazines for publication. In the end, his talent was discovered by Ping Hsin-tao, publisher of Crown magazine, who advised Chen on painting popular subject matter. His first project was to make sketches from his experience in finding jobs, which were received warmly by Crown readers.

He became even more popular when his art works were carried in the United Daily News, one of the leading newspapers in Taiwan. Chen recalled how the chief editor, Chang Tso-chin, encouraged him to do more political caricatures for the newspapers.

Commenting on this new challenge, Chen said: "As I am not good with words, caricature is a handy tool to express my opinions and feelings. I mock both myself and others in my work. But doing political caricatures is a different matter. I feel I must have a sense of responsibility in telling right from wrong. Of course, I do add a touch of humor to attract readers' attention."

Ink painting: Even after he had won fame and fortune as a caricaturist, Chen could not forget his love of Chinese painting. He said: "Although I had earned my living through caricature, I always regretted that I could not specialize in the things I have been educated in and am good at."

During the following six months, he followed a routine of painting caricatures by day and Chinese paintings, using brush pens, at night. In his first exhibition held in Taipei in October 1979, Chen presented a new style in Chinese painting. Cars are depicted climbing mountains, TV antennas bristling atop classical buildings, women holding cigarettes, and a baby sucking milk from a feeding-bottle in a thoroughly Chinese setting. This combination of classical and modern themes has fascinated all the people who attend his exhibitions.

In a self-mocking way he says: "I express my ideals through Chinese painting and make money through painting caricatures."

For the future, Chen plans to introduce still more avant-garde themes into Chinese paintings. He considers the poetic and sublime qualities of Chinese paintings cut them off from the real world.

"I always try to be faithful to myself and the world I live in. By using the traditional style as shown in Chinese painting, I intend to add humor and irony, which is unique to caricature, to my paintings. No matter what the critics may say, I intend to exhibit these works next May."

Now married and with one daughter, Chen enjoys his life today as a successful artist after many years of experiment and tribulation.

[Picture Caption]

1. A conscientious painter, Chen Chao-pao makes eight drafts before he finally decides how to paint an old monk. In this painting, he displays the pictographic nature of Chinese characters by placing mountains over water. 2. Chen uses graceful lines and touches unique to Chinese classical painting to capture the ethereal quality of classical writers. 3. Teaching his daughter with the help of his wife is Chen's greatest pleasure.

Some of Chen's masterpieces of caricature depict figures from ancient fairies and country bumpkins. The droll caricature right was one of the works displayed in the "Year of the Monkey" exhibition.

1. Through this painting, Chen displays how the tourists are deceived by the Chinese Communists. 2 & 3. These two works will be put on public display in May this year, showing Chen's breakthrough in Chinese ink paintings. Picture 2 shows a child expressing wonder at a work by famous classical painter Wu Tao-tse. In picture 3, Chen uses modern photographic techniques to recreate the famous painting by Han Kan, which gives a new interpretation of this classical work.

Chen uses graceful lines and touches unique to Chinese classical painting to capture the ethereal quality of classical writers.

Teaching his daughter with the help of his wife is Chen's greatest pleasure.

Some of Chen's masterpieces of caricature depict figures from ancient fairies and country bumpkins.

The droll caricature right was one of the works displayed in the "Year of the Monkey" exhibition.

Through this painting, Chen displays how the tourists are deceived by the Chinese Communists.

Picture 2 shows a child expressing wonder at a work by famous classical painter Wu Tao-tse.

Chen uses modern photographic techniques to recreate the famous painting by Han Kan, which gives a new interpretation of this classical work.