Ahura

by Cheng Chun-De

IV. Taiwan, Guitar, Six Strings, Professor, Awards, Duel, Missus of the Bird Shop (1946~1963) 

After returning to Taiwan in 1946, Chang settled down near a metal factory. He began to draw caricatures and edit films around Dadaocheng, Yuan-Huan, and Wan Hua Long-Shan Temple. He coincidentally bumped into Liao De-Cheng around Long-Shan Temple where he was giving an enthusiastic speech of protest against the rising price of rice. He captured that image and painted it on canvas and presented it to Liao De-Cheng as a gift. Later on, this inspired the nation's consciousness and was donated to the source of the democratic movement.

The "beloved guitar" was a constant companion on Chang's journeys, leading some to mistake him for a wandering musician. Mr. Li, the principal of Tai-Bei junior high school who was on the same ship back to Taiwan, invited him to teach music at the school. On rainy days, Zhang would clutch a worn umbrella to shield his guitar as he made his way to class, capturing a poignant image of poverty—a man with a battered umbrella, striving to make a living against all odds. This scene inspired his painting Repairing the Umbrella, a 50F canvas where he vividly depicted this resilience.

In 1947, his eldest son was born, and he named him "Chang Liu-Xian" (Zhang Six-String) to commemorate how he’d survived by playing the guitar, even though he could no longer play the sixth string. This name symbolized his endurance in using skills unrelated to his training just to get by.

In 1948, due to Liao Ji-Chun's recommendation he was deferred to Taipei Normal University to teach sketching. Not only was he a centered professor but also popular among the students. There was utmost respect for Chang by the Taiwanese students every time he came back to hold a solo exhibition and although Chang had rooted artistic skills but didn't have the posture of a worker. In addition to his inability for socializing, 2 years later a minor incident occurred where the mainstream calligraphy artist Huang Jun-Bi was unsatisfied towards him and Chang was demoted to work in the administrative department. Chang later on personally resigned and notified Liao Ji-Chun in person. 

The following awards that Chang Yi Hsiung received:
Tai Yang Exhibition, Tai Yang Rewards from 3 Selections;
1951 6th Provincial Art Exhibition Award "Autumn Night";
1952 7th Provincial Art Exhibition Award "Nude Girl";
1953 8th Provincial Art Exhibition Award "Umbrella Repair".

In 1945, Era Art Association was established and united an opposing combination of Taiwanese artists. The members include Hong Rui-Lin, Chen Teh-Wang, Chan Wan-Chuan, Chang Yi-Hsiung, Liao Teh-Cheng and Jin Chin-Tso (金潤作). Compared to “The 3 Bullies” of the Provincial Exhibition, (Yan San-Lang, Li Shi-Chiao and Kuo Xue-Hu) the opposing members were even more unique and flourished in glorious success. During this period, a conflict gradually began to ignite which also caused foul language between the artists. A certain incident where Chang erupted like a volcano in front of 20+ people screaming, “Everyone, come out to duel me!” The whole room fell silent which caused a great amount of awkwardness.

From the age of 36~50, Chang moved to 8 different houses in Taiwan. He opened a bird shop on Zhong Hua Road, therefore everyone called his wife the "Missus of The Bird Shop." He opened up a "Pure Art Class" above the bird shop. The other locations he moved to were all regulated or zoned buildings and the inspirations created from all these locations by the teacher are comparable to the skills of artists from Soho, New York. Chang was a humble and earnest artist and found models to sketch during this period. (One of the most known models was Lin Si-Duan 林絲緞) Chang Yi Hsiung was appointed as the vice-professor at Taiwan National University of Arts and held exhibitions with his students.

V. Japan, Caricature Artist (1964-1979) 

After the incident of 228, Chang's saw through the realistic environments of Taiwan. In addition to a series of unfortunate events, an opportunity arises when an American collector Frank bought 64 pieces through Chang Yi Hsiung. With this amount of money, he decided to immigrate to Brazil and passed through Japan. During his layover in Japan, due to a deceiving incident with his residency passport which caused him to permanently reside in Japan instead. Luckily, he met an art collector in Japan who was willing to become his guarantor but Chang also carried the heavy weight of debt on his shoulders in a foreign country.

In order to return the debt to his benefactor, the businessman requested a masterpiece by the Impressionist artist Chang Yi Hsiung. With great enthusiasm, Chang attempted to paint several paintings. Under certain circumstances of people who just became rich and their desire to collect paintings, you can only imagine ulterior motives to abuse this. Therefore, Chang rejected later requests made by the businessman and simply returned the debt owed.

Living in Japan for 15 years, Jiang Bao-Zhu was a waitress washing dishes and doing odd jobs to help Chang. Even when they relocated to France, this customary habit was non-detachable instinctively. Chang on the other hand drew around Ginza, Shinjuku and Ueno Park for a living. With adept Japanese skills and popular creative skills, was he able to survive in a foreign land. In the later period, Cheng Jing-Rong's education abroad in Japan was successful because of Chang Yi Hsiung's motto of persistence.

In 1968, Chang bought his first house around the northern area of Saitama Prefecture. The rooms were small but very homey, also implying a stable career and family life for the future.

In 1973, Chang held a solo exhibition at Taiwan's Provincial History Museum and caught the attention of collectors. To be able to catch a glimpse of such opposing oil on canvas art pieces which in return, ignited Chang's dream of traveling to Paris yet again. In 1974, Jiang Bao-Zhu understood the motif of her husband and spent everything she saved from her odd jobs in order to complete “The Parisian Dream.” When Chang went to Paris, he rented a house and having traveled to all the big and small art galleries, he began to create masterpieces there until a month later when all his savings were spent he returned to Japan. From then on, his mind was enveloped by Paris completely. 1976 Second solo exhibition at the National Provincial History Museum.

1977 Chang's depressing and sorrowful days were over and through the introduction of his student Chen Rong-He, he became a contracted artist with Tai-Chi Gallery. In 1979, his first art catalog was published with 2500 copies and was completely sold out marking a successful sale. 

VI. Paris, Annuity, Return to Japan, Star Medal Award, Dream Come True (1980-present) 

In 1980, Chang decided to permanently reside in Paris and reached the highest peak of creation at this point. Within the year: “Landscape,” “Paris Woman” and “Still Life” received popular awards in the Paris Spring Salon. “Old Man and The Sea” was selected into the Paris Spring Salon and in 1987; he became the first ever Taiwanese artist that was paid an “artistic annuity” by the French government. In the following year, he also became an official member of the Paris Spring Salon.

After settling down in Paris, in addition to the beautiful environment thus broadened Chang's vision of beauty. Whether on the structure of the painting, to the diverse color usage or the abundance of creative life sources continuously displayed in front for the audience to see. Chang once said that when he is buried, he hopes to hold a little painting in his hand to admire. Perhaps this is where his inspiration of painting smaller size paintings comes from. Even though Chang Yi Hsiung is old, with a natural talent, creating wonderful masterpieces is something that other artists aren't able to match.

In 1989, Chang held a charity event at Taipei's Spring Gallery called "Chang Yi Hsiung's social care charity event." He donated 100 (OF sized) paintings and other bigger sized paintings, estimating the amount to 500 works total donated. The charity events collected the sales and donated to the poverty stricken farmers and set up a scholarship for young emerging artists traveling to Paris. Chang Yi Hsiung presented his humble and compassionate heart towards society by action.

Chang Yi Hsiung's pieces from Tai-Chi Gallery and Pu-Ji Gallery were also exhibited. In 1991, on the morning of the exhibition at Taipei Times Gallery; people were already lining up. When the doors of the gallery opened, people rushed to purchase one of Chang's paintings. When others asked if Chang was satisfied with this outcome he simply replied, "Do they really love my painting or the market value it has currently?"

In 1994, Chang held an exhibition at the Taipei National Art Museum (80's Retrospective Show) and presented his early "Black Period" and "White Period" art works, presenting his lifetime career exhibition which ended in great success. Later on in 2001 he held another joint exhibition with his wife in his hometown Jiayi City. Under such imminent circumstances, I rushed to Paris and Japan to collect his art work in order to contribute towards this exhibition. In 2003, Chang's wife passed away in Japan which caused great trauma for him. His willpower substantially decreased during his period and at the time, he rejected the invitation (90s Retrospective Show) he had already RSVP'd too. Under the constant encouragement by me and his students did he change his mind. Due to the age of Chang at the time and his children residing in Japan, he returned to Japan.

In 2005, Chang received the 4th Honorary Star Medal Award by the Republic of China. This award commemorated Chang's lifetime accomplishments and contributions towards art and was also the first Taiwanese artist to receive this award.

Observing the past exhibitions, I can deeply understand and experience Chang's creations and infinite creative source of energy. The teacher told me in private that “I wish my paintings belonged to people who truly understand and appreciate it.” Simultaneously, this proves that although life is short but art is eternal.