One foot in the East, one in the West

It is a pity that the museum doesn’t exhibit any of Chiang’s earlier paintings — particularly the traditional Chinese landscape Seclusion in the Mountain (山居, 1970), the impressionist Rhythm of Mountains (山韻, 1989) and the expressionist Red River (紅河, 2006) — as doing so would have provided viewers with a clearer understanding of Chiang’s development. The exhibit does, however, manage to broaden its scope with several books written by Chiang and a documentary of his life as an artist. Reviewing these sources does much to reveal an artist working across two traditions while transcending both.

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