Chang Wan-chuan (May 28, 1909 – January 12, 2003) was born in Tamsui, Taipei, Taiwan. He is one of the early 20th-century Taiwanese painters who traveled to Japan for the study of Western painting. His artistic creations are primarily characterized by the styles and techniques of Expressionism and Fauvism.
Early life and education
Chang Wan-Chuan was born in Tamsui on May 28, 1909. His father, Chang Yung-Ching (1877–1945), worked at the Tamsui Customs at the time. At the age of 32, his father joyfully welcomed his eldest son and named him "Wan-chuan" with the intention of "passing on everything," which resonates with the pronunciation of "Man-chuan" in Taiwanese Hokkien.
In 1924, Chang graduated from the higher department of the Shilin Public School, and his family moved to Dadaocheng in Taipei. In 1929, he learned about the recruitment of students by the Western Painting Research Institute.
On July 1, 1929, the Western Painting Research Institute was founded with funding from Ni Chiang-Huai. Chang learned sketch, watercolor, oil painting, and so on from Ishikawa Kinichiro, and he also met Lan Yin-Ding, Ni Chiang-huai, Chen Chi-chi, and Yang San-lang there and became bosom friends with Hong Jui-lin and Chen Te-wang.
In 1930, Chang Wan-chuan, along with Hong Jui-lin and Chen Te-wang, went to Japan to study art. After arriving in Tokyo, the three of them rented a house with Chen Chi-chi, Li Mei-shu, and Li Shih-chiao. At that time, Li Mei-shu had just been admitted to the Tokyo School of Fine Arts, while Li Shi-chao was preparing for his third attempt at the entrance exam for the Tokyo School of Fine Arts. To enhance his exam readiness, Chang Wan-chuan enrolled in the Kawabata Art School and the Honjo Painting Research Institute for further studies.
In 1931, Chang Wan-chuan, Hong Rui-lin, and Chen Te-wang all passed the entrance exam for the Western Painting Department of the Imperial Art School. In 1932, Chang Wan-chuan decided to drop out of the Imperial School of Fine Arts due to the limited focus on creative courses. He turned to self-study and continued to hone his drawing skills through the study of books and sketchbooks, as well as attending private art schools for practice and creation. Although Chang Wan-chuan did not enter the traditional academy system to study fine arts, his work "Market in front of the Temple" was still selected for the 6th Taiwan Exhibition in 1932.
Career
In 1936, Chang Wan-chuan joined the Taiyang Art Association with Hong Rui-lin and Chen Te-wang, and exhibited at the second Taiyang Exhibition. In 1937, during a visit to Xiamen, he befriended Xu Shengji and together they formed the Qingtian Art Society. In 1938, Chang Wan-chuan, Chen Te-wang, Hong Rui-lin, Chen Chun-te, Hsu Chao-chi, and Huang Ching-cheng formed the Mouve Art Group. That same year, Chang Wan-chuan, Hong Rui-lin, and Chen Te-wang left the Taiyang Art Association.
In 1938, the first Provincial Exhibition opened, and Chang Wan-chuan was awarded a special prize for his work "Gulangyu Scenery", which depicted the scenery of Xiamen.
In 1939, Chang Wan-chuan returned to Taiwan and took on an administrative role at the Ruifang Mine managed by Ni Chiang-huai. That year, he also participated in the Provincial Exhibition once again and was selected with his work "Church on Gulangyu Island".In 1942, his work "Scenes of Xiamen" was selected for the 5th Provincial Exhibition.In 1943, his painting "Southern Scenery" depicting the scenery of Tainan was selected for the 6th and also the last Provincial Exhibition.
After World War II
In 1946, Chang Wan-chuan was invited to work as a physical education teacher at Jianguo High School, where he reorganized the school's rugby team and was responsible for some of the disciplinary work.
In 1947, the "228 Incident" occurred in Taiwan. Chang Wan-chuan initially took refuge in his ancestral home in Yangmingshan, but later sought shelter with his elder brother Zhang Wanju, who was practicing medicine in Jinshan. It was during this time that he met Ms. Hsu Bao-yueh, a nurse working in the clinic.
Chang Wan-chuan worked as a fisherman in the small fishing village of Jinshan while continuing to create art. During this period, he began to draw a large number of "fish". The "fish" served as an important theme in his creations. It not only represented the everyday objects he encountered, but also symbolized the gratitude he felt towards Hsieh Guo-yong, who managed fish ponds during his southern exhibitions. Additionally, it carried his fond memories of his father, who loved eating fish.