Kuo Hsueh-hu: An autodidact
Born in Taipei’s Dadaocheng, Kuo Hsueh-hu (1908–2012) lost his father when he was two years old, and was brought up by his mother. He discovered his artistic talents while studying at Rixin Public School, and later spent a short time learning to paint religious portraits.
Kuo’s ink-wash painting Waterfall in the Pine Valley was selected for the first Taiten. At the exhibition, he saw a set of three nihonga paintings of birds and flowers by the Japanese artist Koto Gobara, who had served as one of the selectors. Gobara’s works led Kuo to study nihonga. The following year, Kuo’s own nihonga painting Scenery Near Yuanshan was selected for the Taiten, giving him a firm footing in the art world.
Though he had received no formal art education, Kuo distinguished himself at various art exhibitions. He said that he painted by day, and in the evenings went to a library to study artistic techniques.
Lin Yu-chun, director of the Tainan Art Museum, remarks that the composition of Kuo’s Scenery Near Yuanshan bespeaks the artist’s scrupulous attention to detail. “This is what is attractive about the 20-year-old young man,” she says.
Another of Kuo’s masterpieces, Festival on South Street, shows Taipei’s Dadaocheng during the annual Ghost Festival. Lin tells us that Kuo added an extra story to the area’s two-story buildings, and juxtaposed Taiwanese with Japanese elements, and tradition with modernity, in his depiction of shops, banners and signs.
One of Taiwan’s earliest nihonga painters, Kuo was so deeply upset by the controversies from 1946 onward over what could be considered “legitimate Chinese painting” that he emigrated to Japan in 1964, and later moved to America. It wasn’t until the late 1980s, when local Taiwanese culture was finally allowed to assert itself, that he returned to Taiwan to exhibit his paintings.
“I think my father had a hard life. He was very brave,” says Kuo’s second son, Song-nian. People used to taunt this family of nine because they had an artist father: “Are you going to starve to death?” Yet Kuo carried on painting and pursuing innovations in art. He believed that being an artist required a big leap of faith.
Kuo Hsueh-hu’s Festival on South Street portrays the hustle and bustle of Taipei’s Dadaocheng during the annual Ghost Festival. (collection of the Taipei Fine Arts Museum, by permission of Kuo Hsueh-hu Foundation)
Kuo Song-nian tells us about Kuo Hsueh-hu’s courage and lofty visions of art. (photo by Kent Chuang)
Completed late in Kuo Hsueh-hu’s life, Pomegranates and Turtle Doves combines traditional ink-wash and nihonga painting techniques. (collection of the Taipei Fine Arts Museum, by permission of the Kuo Hsueh-hu Foundation)
Kuo Hsueh-hu’s Scenery Near Yuanshan, which made him famous, features rhythmically and densely placed landscape components, and a complex yet harmonious combination of colors. This has been referred to as the “Hsueh-hu Style.” (collection of the Taipei Fine Arts Museum, by permission of the Kuo Hsueh-hu Foundation)