Page 15 - 2025大墩美展30年．巨匠名作特展專輯-電子書

number of outstanding artists grew even larger, including those who relocated from Mainland China to Taiwan such as
LU Fo-Ting (1911–2005), KAO Yi-Feng (1915–1972), CHEN Ting-Shih (1916–2002), and CHEN Chi-Mao (1926–2005),
among many others.
As for sculpture, Taichung’s modern pioneers were CHEN Hsia-Yu (1917–2000), a native of Longjing, and his younger
brother CHEN Ying-Chieh (1924–2012), both recognized as trailblazers of modern Taiwanese sculpture. After the war, both
became jurors for the sculpture division of the Taiwan Provincial Fine Arts Exhibition, directly encouraging and inspiring a
generation of sculptors in Taichung, and earning the city its reputation as Taiwan’s “Capital of Sculpture.”
Early sculptors in Taichung, in addition to the Chen brothers, included CHANG Hsi-Ching (1909–2000), LIN Kun-
Ming (1913–1939), CHANG Shu-Te (1922–2010), CHEN Chih-Fang (1930–2017), CHEN Ching-Chang (1933–2017),
CHEN Chin-Tien (1939–), KANG Yung-Che (1930–), and LI Yen-Chao (birthdate unknown), who also became the earliest
members of the “Taichung Sculpture Society.”
In the field of crafts, during the Japanese colonial period, Yamanaka Tadasu established the “Yamanaka Arts and
Crafts Lacquer Workshop” in Taichung (the predecessor of the “Taichung Municipal Craft School”). This institution had a
profound influence on the later flourishing of craft in Taichung, the development of materials, and even the advancement
of sculpture.
The establishment of the Da Dun Fine Arts Exhibition in 1996 clearly continues this Taichung artistic tradition, providing
a competitive platform for a new generation of postwar-born artists to showcase their creativity, while sustaining the lifeline
of the city’s ongoing artistic development.
Finally, when examining the content of the works, the past thirty years clearly reveal both innovative stylistic
developments and the extension and deepening of artistic substance, whether in traditional media or in emerging digital
art. For this exhibition, in addition to presenting the works by category and arranged by edition, the curator has also
compiled brief biographies, educational backgrounds, artistic careers, and analyses of the award-winning works of all the
prize-winning artists. The hope is that this exhibition will embody both educational value and aesthetic richness.
Though history has been full of twists and turns, what ultimately remains is the artistic culture that symbolizes spiritual
civilization. The thirty-year legacy of the Da Dun Fine Arts Exhibition represents a precious cultural asset, accumulated and
preserved through the works of these distinguished masters.

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