The Taiwanese Struggle for Identity, Told Through Art History

On Japanese colonialism, US imperialism and the martial law, and it's Impact on Taiwanese Art

The evolution of Taiwanese art reflects the island’s turbulent history, one shaped by shifting regimes, colonial legacies, and competing cultural forces. From Japanese occupation to the Nationalist government’s enforcement of Chinese ideologies, artists in Taiwan have long navigated the tension between external control and an internal drive for authentic expression. It is a narrative of resistance, adaptation, and the enduring search for identity in a rapidly changing world.

For those of us outside Taiwan, the depth of this identity struggle may be difficult to fully grasp. Yet Taiwanese art offers a vital point of entry. Through styles once enforced or abandoned, and through new movements that emerged in defiance or reinvention, the trajectory of Taiwanese art tells a powerful story of the land and the people, and what they've had to create throughout all of the change.

The Shifting Sands of Taiwan’s Political Landscape

The island’s journey toward a cohesive artistic identity began with its annexation by the Qing Dynasty in the mid-17th century, but it was during the Japanese colonial period (1895-1945) that art underwent profound changes. 

Battle scene from the First Sino-Japanese War, print, Yōshū Chikanobu, 1894

Under Japanese colonial rule (1895-1945), Taiwan’s art scene experienced a significant blending of Chinese and Japanese artistic traditions. This period introduced modern Western techniques, which influenced local artists. As the Taipei Times notes, artists like Liu Kuo-sung played a key role in merging Chinese ink painting with modernist abstraction, a fusion that shaped Taiwan’s evolving artistic identity. This hybridisation reflected Taiwan’s struggle to maintain its cultural heritage while adapting to foreign influences, laying the groundwork for its post-colonial artistic development.

After Japan’s defeat in 1945, Taiwan was handed over to the Republic of China [2], leading to an influx of mainland Chinese fleeing the Communist regime. These new arrivals, including intellectuals and artists, sought to impose a singular Chinese nationalist identity on the island, creating a rift between them and the indigenous Taiwanese population. The impact on art was immediate. Taiwan's artists were caught between two worlds—one steeped in traditional Chinese values and the other embracing the foreign ideologies their new mainland compatriots brought. This clash set the stage for decades of political and cultural tension.

Lih Shih-Chiao, Entrance of a Market, 1945 [1]

The Influence of US Imperialism and the Rise of Abstractionism

Japan’s defeat did not yet mark freedom for Taiwan, instead ushering in the rule of yet another power. As the Cold War escalated, Taiwan’s strategic value to the United States as a stronghold against Communism shaped much of its political and cultural life. The 1950s saw an influx of American influence, sparking a growing interest in Western art forms, particularly abstraction. This era became one of intense experimentation, as Taiwanese artists increasingly turned to abstract expressionism and modernist ideals.

Yet, as this movement gained traction, an ideological divide took place. It became western abstraction versus traditional ink, and art became a battlefield for the competing visions of Taiwanese identity.

Artists of the Fifth Moon Group, who pioneered the modern art movement in post-war Taiwan between the mid-1950s and the 1970s

The artistic revolution was further stoked by the imposition of martial law (1949-1987) [3], which brought with it severe political repression. The authoritarian regime stifled dissent, and artists found themselves caught between maintaining cultural traditions and navigating the ideological demands of the state. This struggle that would define much of Taiwan's artistic discourse for years to come.

A Growing Sense of Identity: Nativism and Modernism

In the 1960s, Taiwan saw the emergence of the Nativist movement—a counter-response to the dominant Westernisation and modernism.

On Taiwan’s literary front, this movement was gaining special traction. Writers sought to break from the idealised, mainland-oriented narratives encouraged under Kuo Min Tang rule, instead foregrounding the struggles, language, and everyday realities of local Taiwanese society. This literary shift paralleled the growing focus among artists on rural life, labourers, and marginalised communities.

	Buddhist by Shiy De Jinn, who was known for the lyrical mood of his watercolors, at the same time being influenced by Pop Art and Op Art.		Artist Ju Ming with one of his works, which remains displayed in Hong Kong.
	Wu Hao, who was central in creating the nativist movement of Taiwan.		Part of a series of works by Hung Tung, who was notable for his folk style and vivid colours.

As Taiwanese artists became more introspective, they began to use their work to critique both the imposition of foreign ideologies and the legacy of colonial rule. This era marked a pivotal shift, with artists like Ju Ming and Hung Tung using hyperrealism to portray Taiwan's local realities. Their works, focused on the everyday life of the Taiwanese people, sought to reclaim the narrative from the globalised forces that threatened to erase Taiwan’s unique cultural heritage.

The Art Groups of The Late 20th Century

The 1980s and 1990s marked a time of major change in Taiwan. With the end of martial law, people experienced a new sense of freedom, sparking debates about identity, politics, and culture. As old systems broke down, artists responded by challenging dominant styles and using their work to express the uncertainties of the time. Art became a way to process change—a tool for both resistance and reflection.

Many artists began to move away from Western influences, instead drawing inspiration from local traditions, folk stories, and everyday life. Inspired by figures like Hung Tung, they adopted simpler, more symbolic styles to speak to Taiwanese identity. Artists such as Kuo Jen-chang and Lee Ming-tse used ancient forms and myths to comment on modern realities, while Wu Mali and Lien Teh-cheng used irony and critique to explore social issues still affecting the nation.

	Kuo Jen-Chang, Exchange, 1985
	Wu Mali, Swing, 1992

Across this spectrum of expression, Taiwanese artists forged a collective yet deeply individual response to a rapidly changing society—one rooted not just in aesthetics, but in the urgent redefinition of identity and belonging.

The Role of Art in Taiwan today

Art in Taiwan has always been a reflection of its people’s resilience and adaptability in the face of external and internal pressures. Today, Taiwanese artists continue to grapple with the tensions between local identity and global integration, using art as a tool for political expression and cultural negotiation. With Taiwan’s growing prominence in the global art scene, these artists are no longer confined to the island’s borders but are engaging with broader conversations about politics, identity, and the future.

In this context, Taiwanese art is not just a record of the past—it is a living, evolving dialogue that reflects the island’s struggles and hopes. As Taiwan continues to navigate its position on the world stage, its artists remain at the forefront, using their craft to negotiate and redefine what it means to be Taiwanese in an increasingly globalised world. 

Lin Shih-Yung, Evidence, Take-3, 2017

If you're interested in artworks by Taiwanese artists, take a look at the artworks sold by collectors on our Taiwan marketplace.

Written by Fithriah Hashim

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1. This work, considered one of the representative pieces of post-Japanese colonial rule in Taiwan depicts the crowded Yungle Market, which was the busiest downtown district in Taipei at the time. At the center of the painting is a proud lady in sunglasses, dressed in the latest fashions from mainland China. In front of her, a scrawny dog begs for scraps from a shabby, barefoot street vendor. The artist's intention is clear: to contrast the wealth of a few with the poverty of the masses. "My purpose was to document the hardship people suffered just after the war," Lee explains.
   
   

2. Following Japan’s surrender in 1945, Taiwan was placed under the administration of the Republic of China (ROC), led by the Kuomintang (KMT). The KMT’s rule was characterised by authoritarian governance, the imposition of martial law (1949–1987), and an aggressive campaign to Sinicise Taiwanese society. Local languages, cultures, and political dissent were systematically suppressed in favour of a unified Chinese national identity. These decades of political repression and cultural erasure left a profound impact on Taiwan’s intellectual and artistic landscape, shaping the search for local identity that continues today.
   

3. Martial law, imposed in Taiwan from 1949 to 1987, restricted civil liberties, suppressed political opposition, and enforced anti-Communist and Chinese nationalist ideologies. This period of authoritarian rule stifled local identity, leaving a lasting impact on Taiwanese art and literature as artists navigated censorship and ideological constraints.
   

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Reference List:

Shih-Ming, P. (2021), General Remarks in S. Pai (Ed.), General History of Taiwanese Visual Art (pp. 7-11). Taiwan Art History Education 

An-Y, P. (2021), Leftist and Rightist Art in The First Decade After WWII in S. Pai (Ed.), General History of Taiwanese Visual Art (pp. 67-77). Taiwan Art History Education 

Szu-Hsien, L. (2021), Western Abstraction and the Integration of East-West in S. Pai (Ed.), General History of Taiwanese Visual Art (pp. 101-107). Taiwan Art History Education 

Hsin-Tien, L. (2021), Identity and the Reconstruction of Taiwanese Art History in S. Pai (Ed.), General History of Taiwanese Visual Art (pp. 101-107). Taiwan Art History Education 

Hsin-Tien, L. (2021), Identity and the Reconstruction of Taiwanese Art History in S. Pai (Ed.), General History of Taiwanese Visual Art (pp. 101-107). Taiwan Art History Education 

Hsing-Yueh, L. (1995), Art in Taiwan 1945-1995 in N. Jose and W. Yang (Ed.), Art Taiwan: The Contemporary Art of Taiwan (pp. 48-55). G+B Arts International Limited