THE OUTLIERS: CHIN SUNG & NASHAR
 亚洲战后抽象艺术的流浪者: 秦松/纳沙 

ART FORMOSA 2018
12 - 15 JULY 2018

 In the history of post-war modern abstraction in Asia, Chin Sung and Nashar are two iconoclasts who forged trailblazing pathways in their respective journeys towards abstract art. Though not bound by personal familiarity or direct correspondence, the lives and artworks of Chin Sung and Nashar were nevertheless very similar. Their works relayed an internationalist perspective, freed from the cultural parochialism that blinkered many fellow artists of their times in Taiwan and Indonesia respectively.

Artist and poet Chin Sung synthesised the aesthetic dimension of Chinese art and calligraphy with the tenets of modern abstraction gleaned from the west. Best known for having developed a symbolist language of abstraction predicated upon the universal meanings of circles and crosses, Chin Sung went on to establish the Modern Prints Association in Taiwan. He was also a member of the Ton Fan Group before political expediency forced him to migrate to the United States in 1969, two decades after he had arrived in Taiwan with the Kuomintang government.

Artist and writer Nashar worked purely in abstraction in the later half of his life, and was best known for the intutive approach to painting he espoused that separated him from the his peers. Impoverished for the most part of his life, Nashar had in his earlier days joined the revolutionary efforts for Indonesian independence but later turned to a distinct individualistic path in his artistic career. His theory of intutive painting rooted in abstraction influenced his bethren of artists, and stood out against contending artistic discourses.

It was the best of times, it was the worst of times, it was a time of Indonesian national struggle, it was a time of painful exile for the Kuomintang government, and it was in such contexts that the singular and iconoclastic artistic attitudes of both artists emerged. In the multiple accents that the language of abstraction offered, the two outliers found their natural voices.


在亚洲战后抽象艺术的浪潮中,有两位带着叛逆气质的流浪者,秦松及纳沙,在二战后的台湾及印尼以抽象的形式尝试与世界对话。  秦松,结合东方书法线条与西方抽象美学,同时为诗人与艺术家,在台湾现代抽象艺术中独树一帜,1959 年入选巴西圣保罗荣誉奖,且成立现代版画会,曾在艺坛风起云涌,然而因为政治的纷乱,秦松被迫噤声在这段台湾艺术史篇章中,1949年才随着国民政府来台的秦松又再20年后移居美国,颠簸流离。

出生于印尼西苏门答腊岛的纳沙,则以印尼文化中最崇敬的大自然元素为创作核心,强调保持内心的单纯和对直觉才能靠近艺术的核心,致力于发展独特的艺术语汇及理论。纳沙出生贫困,曾加入印尼游击队,过着游牧艺术家的流浪生活。纳沙致力于绘画和撰写,他的艺术理论影响了当时一整个流派的艺术家创作,在纷乱的时代以抽象的语汇、直觉的创作以维持内心的纯粹。

那是最好的时代,那是最坏的时代,印尼经历独立革命,而国民政府播迁来台,命运多舛的2位艺术家则在时代的巨轮推动下而过着流浪者般的生活。抽象的语汇成为他们表达自我的形式,与社会主流背道而驰的叛逆。