Chinese art in Taiwan since the 1950s has never been studied seriously; it has generally been perceived as provincial by the Japanese who occupied Taiwan for fifty years and by the Chinese from the mainland who fled there after 1949. 1 It is understandable that neither the Japanese nor the mainland Chinese have a high estimation of Taiwan's cultural achievement, as Taiwan has been regarded merely as an object for them to exploit during this century. Furthermore, most Western scholars of modern and contemporary Chinese art have devoted themselves to the art of mainland China (Croizier 1990). So little has been published on art in Taiwan that the island is in danger of being misconceived merely as an economic miracle without culture. 2