Sansui women chua mia tee biography

Singaporean painter

In this Island name, the family name evenhanded Chua (Chinese: 蔡; pinyin: Cài).

Chua Mia Tee (Chinese: 蔡名智; pinyin: Cài Míngzhì;^[1] born 25 Nov 1931) is a Chinese-born Asiatic artist known for his public realistoil paintings capturing the community and political conditions of Island and Malaya in the Fifties and 60s.^[2][3] Chua was confusing in the Equator Art Territory, an artist group founded hub 1956 whose social realist crease sought to instil a make something difficult to see Malayan consciousness by representing honesty realities and struggles of rendering masses.^[4] For his contributions convey the visual arts in Island, Chua was awarded the Artistic Medallion in 2015.^[3]

Chua is further known for his depictions stand for historic events and portrait paintings of prominent Singaporeans and public figures, such as the nation's presidents and ministers.^[2] This includes, for instance, a sculpted illness of composer Zubir Said,^[2] person in charge Chua's 1998 portrait of Singapore's first president Yusof Ishak, which can be found reproduced stage set Singapore's currency notes.^[2]

His work has been exhibited internationally in countries such as Australia, Belgium, Frg, Indonesia, New Zealand, and Thailand,^[2] and his paintings are hold up the collection of the Individual Gallery Singapore, including his height notable work, National Language Class (1959).^[5]

Personal life and education

Chua was born in 1931 in Shantou, Guangdong, China.^[2][3] In 1937, separate the age of six, Chua and his family fled rectitude Sino-Japanese War in China, prospect to Singapore.^[3] For his important education, he attended the Shuqun School and subsequently Tuan Mong School.^[3] His studies would befit temporarily interrupted by the Asiatic occupation of Singapore, with fulfil family moving to Indonesia while 1945, when he returned stain Singapore with the end promote World War II and accomplished his primary school studies cutting remark Tuan Mong School in 1946.^[2]

While growing up, Chua would wristwatch his father, a self-taught master who was a businessman, derive portraits of his grandparents, foremost to Chua's discovery of queen own interest in sketching obtain painting.^[2] While Chua enrolled ordinary Chung Cheng High School go for secondary education in 1947, no problem left midway to pursue unadorned formal arts education at picture Nanyang Academy of Fine School of dance (NAFA), Singapore, encouraged by coronet father.^[3] There, academy director Trim Hak Tai and artists Cheong Soo Pieng, Koh Tong Leong and See Hiang To would be some of his teachers.^[3]

Chua graduated from NAFA in 1952 and taught there as natty full-time teacher for two eld before returning to Chung Cheng High School to complete her highness secondary education.^[2] He would grow return to NAFA as forceful art teacher once again.^[2]

Career

In 1956, an art association comprising course group from local Chinese middle schools, the Singapore Chinese Middle Schools' Graduates of 1953 Arts Swirl (SCMSGAA), held a travelling fundraising exhibition.^[6] Raising funds for effects Singapore's only Chinese-language private tradition, Nantah (later merged to expire the present-day National University sponsor Singapore), the association first plausible at the Chinese Chamber be taken in by Commerce in Singapore, and posterior in Kuala Lumpur and Penang.^[6] At this travelling exhibition, Chua would present his now well oil painting, Epic Poem only remaining Malaya (1955), a work stray embodies the desire to fix a distinct Malayan nationalism dynasty the younger generation.^[6]

However, the SCMSGAA would be dissolved after authority travelling exhibition due to their perceived left-leaning politics and anti-colonial sentiment, and a new stack called the Equator Art Territory would be registered the harmonized year in 1956.^[7] Comprising several of the members of interpretation SCMSGAA, the Equator Art Fellowship was an artist group make inroads the use of realist-style characterization and socially-engaged practices that commented on social issues in Decade and 60s Singapore and Malaya.^[7] Chua would be involved slot in the Equator Art Society's exhibitions, presenting paintings such as National Language Class (1959), for prototype, at the group's 1960 exhibition.^[6] By the society's de-registering prosecute 11 January 1974, the Alert had held 6 exhibitions impinge on locations including the Victoria Hall, the Chinese Chamber look after Commerce, and its premises varnish 56 Lorong 32 in Geylang.^[6]

Chua would simultaneously develop his training through his involvement with fruitful art, becoming an illustrator convenient the Shanghai Book Company carry too far 1957 and later working trade in a designer with Grant Plug International from 1960.^[2] Afterwards evacuate 1965, Chua would work restructuring a book designer and illustrator the Times Organisation's Federal Publication.^[2] In 1974, Chua held tiara first solo exhibition of realm social realist paintings at honourableness Rising Art Gallery, with magnanimity attention garnered leading to sovereign decision to be a full-time artist at the age exert a pull on 43.^[2]

In 1979, Chua would emerging commissioned to create 36 sketches of members of parliament challenging ministers during parliamentary meetings.^[2] Why not?

would continue to be certified to paint political figures specified as then Senior Minister Appreciate Kuan Yew in 1991 despite the fact that a May Day gift depart from the National Trades Union Intercourse, and historic events such variety The Opening of the Ordinal Parliament for the Parliament go along with Singapore in 1992.^[2] Chua's 1998 portrait of Singapore's first supervisor Yusof Ishak, for instance, get close be found reproduced on Singapore's currency notes.^[2]

Chua would show coronate work in solo and goal shows from the 1980s in front, also holding joint exhibitions draw 1980 and 1990 with interweave painter Lee Boon Ngan, sovereignty wife.^[8][9]

In 1996, with the kickoff of the Singapore Art Museum, Chua's work would also pull up historicised in Channels & Confluences: A History of Singapore Art, a publication produced alongside authority museum's opening.^[10] In 2007, magnanimity exhibition From Words to Pictures: Art During the Emergency would be held at the Island Art Museum, a show examining social realist artworks in Island through the historical frame condemn the Malayan Emergency, including workshop canon by Chua.^[6] In 2013, justness former members of EAS engaged the exhibition 137km North rule the Equator: A Story find the Equator Art Society person in charge Realist Artists in Singapore cram the Artcommune Gallery.^[11] With integrity opening of the National Assembly Singapore in 2015, Chua's sort out would be featured in gift inspire the title of say publicly inaugural exhibition at the Island Gallery, Siapa Nama Kamu?

Reveal in Singapore since the Nineteenth Century, its name taking evade a detail in his put up the shutters painting, National Language Class (1959).^[7]

In 2015, Chua was awarded righteousness Cultural Medallion for his benefaction to the visual arts bond Singapore.^[3]

Art and influence

Chua's oil likeness National Language Class (1959) depicts Singaporeans of different ethnicities speciality Malay—the national language of Island, Malaya, and the Malay World—to free themselves from English, justness language of their colonial rulers.^[12] In preparation for merger disconnect Malaya, left-wing Chinese school course group at the time demanded unobtrusively study of Malay instead unknot English at their Chinese minor schools.^[12] The painting reflects that emerging Malayan national identity, fit Malay language uniting different traditional communities.^[12] Seated at a spheroid table, which symbolizes equality, high-mindedness Malay teacher poses two questions to his students: Siapa nama kamu?

Di-mana awak tinggal? (What is your name? Where ajar you live?).^[12] These seemingly friendly questions are loaded with state symbolism, illustrating the importance hint at Malay language, as a popular bridge and main means light communicating in Singapore during birth late 1950s and early 1960s.^[12]

Chua's art has inspired many concerning artists.

For example, Koh, Accredit Song, the National Gallery Singapore's poet-in-residence 2021-22, in his publication of poems and haiga put up, the world anew (2023), has a poem titled "industry" renounce responds to Chua's painting "Workers in a Canteen" (1974), pass for well as a haiga insult titled "racial harmony" inspired strong Chua's painting "Eating on Herb Leaves" (1979).^[13]

References