Chinese artists in the early and mid 20th century argued that they should correct the problem of ‘xiěyì(寫意, arts freehand brushwork in traditional Chinese painting)’ focusing on ‘xíngsì(形似, likeliness in form)’ by taking the factual spirit of the western painting in order to modernize the Chinese painting. From the early 1920s, a word ‘guóhuà(國畵, Chinese painting)’ became to have a meaning of opposition to the western painting due to a strong chauvinistic idea. In 1930s, many artists turned their interest from oil painting to the study and creation activity of Chinese water and ink painting. It is connected to the ‘New Chinese Painting(新國畵)’ which the mainland Chinese government claimed in 1950s. The Nationalist Party government that retreated to Taiwan after the complete defect at the Chinese Civil War in late 1949 asserted themselves as the authenticity of the Chinese culture and exercised Fascism. Since 1950s, the Taiwanese artistic world, and furthermore art education supported ‘guóhuà’ that revitalized traditionalism and conservatism ideology. But, there were some young Taiwanese artists who sought a new creation. Among them, ‘Fifth Moon Group(五月畫會)’ promoted by Liu Kuo Sung and ‘Dong Fang Group(東方畫會)’ founded bi Li Zhong Sheng accepted western artistic trends, especially the abstract expressionism making a challenge to closed, rigid and conservative artistic system and environment. Nonetheless, in the midst of grim reality of the political conservatism, the development of the modern art of Taiwan was frustrated from 1960s. The avant-garde modernity was not allowed by the political authorities and many founding members of Fifth Moon Group and Dong Fang Group moved to Europe and the USA. The international status of Taiwan was unstable up to 1970s. Even though a new historic phase was open with the mainland China, the controversy regarding the identity of Taiwan still continues.

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