Bachelor of Arts

This paper is about the influence of the Pioneer artists (focussing particularly on Liu Kang) and the Nanyang Style on the development of art and art education in Singapore. In light of this, various issues including who the Pioneer artists are and what is Nanyang Style will be discussed in the course of the paper. Special attention will be focussed on Liu Kang's influence and contribution to the development of art and art education in Singapore. Following that there will be a discussion on Liu Kang's views on the art and art education in Singapore today.

The objectives of this paper are three-fold. Firstly, the aim of this paper is to find out how and to what extent Liu Kang influenced the art and art education in Singapore. Secondly, the purpose of the paper, particularly Chapter 5, is to highlight the urgent need to address some important issues related to art and art education in Singapore. Finally, the paper serves as a catalyst for further research in the area of art and art education in Singapore. This could include the study of the other Pioneer artists who have been the key players in establishing the art and art education in Singapore. The research may be extended to include the study of the role of the Second Generation artists and the present generation artists in the art and art education in Singapore.

The landscape paintings of Chen Wen Hsi are often overlooked or perceived from a Western perspective, hence this study was concerned with examining his modern landscapes through Qi, the most fundamental Chinese aesthetic principle. Prior to the discussion on Chen's artworks, this study traced the origin of the character Qi and defined its meanings in different contexts, namely Chinese philosophy, Chinese literature and Chinese painting. It then investigated the varied translations and interpretations of Qi, identified the errors and cleared misconceptions by offering an accurate interpretation of Qi. Finally, it looked into the manifestations of Qi in Chinese landscape painting, and in particular, in Chen's landscapes. Findings show that Qi in the landscape paintings of Chen can actually be identified and appreciated through the means of Si [Thoughts], Jing [Scene], Bi [Brushwork] and MO [Inkwork]. It is hoped that such findings could stimulate more research in wider areas, such as looking at landscapes of other modem Chinese painters. It is also my sincere hope that the outcomes of this study could serve to provide implications for the teaching of appreciation of Chinese painting in schools.