Realistic RepresentationChua Mia Tee

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Enduring Understanding

Students will understand that realistic

representation is selected with purpose and function to

express ideas and concepts

Essential QuestionsOverarching Questions1. How does realistic representation contribute

to the ideas and purpose of artists?2. What are true reflections of life?3. How is visual art a mechanism for social

change?

Topical Questions1. How are the various subject matter treated?2. How is life mirrored here?

5W1H

Nationalistic ConcernsFigurative

Landscapes/Scenes

Chua Mia Tee

When1931-

What

WhereChina

Singapore

HowOil Painting

WhyNostalgia

Believes that art must reflect real life

Keep records of Singapore’s history. Believes art should

reflect life of people.

WhichSocial Realism

Biographical Outline1931: Born in Shantou, Guangdong, China.1937: Arrived in Singapore at age 6.1938-42: Studied at Shuqun School and then Tuan Mong

School1947-50: Enrolled in Chung Cheng High School but left mid-

way to pursue a formal art education with NAFA.

1950-2: Studied at NAFA under Lim Hak Tai, Cheong Soo Pieng, Koh Tong Leong and See Hiang To.

1952-4: Taught at NAFA.1954-6: Went back to Chung Cheng High to complete his

secondary school education.1956-7: Went back to NAFA to teach.1957-60: Worked as book illustrator with the Shanghai Book

Company

Biographical Outline

1960-5: Worked as a designer and illustrator with Grant Advertising International Incorporated,

particularly in figure drawing for advertisements and comic strips.

1974: First successful one-man exhibition. He also became a full-time artist.

1990: Designed Singapore’s new $50 currency noteto commemorate Singapore’s 25th Anniversary. Also designed the $2 currency note.

When (1937- )1937: Sino-Japanese War.1948-60:The Malayan Emergency- refers to a guerilla

war for independence, fought between Commonwealth Armed Forces and the Malayan National

Liberation Army of the Malayan Communist Party, whose leader was Chin Peng.

1959: Singapore granted self-governance.1962: Singapore joined Federation of Malaysia.1965: Singapore gained independence.1965-70s: Industrialisation in Singapore.

WhereChina “A time of great political, economic and social change.” Woodblock prints were revived in China during 1929-45.

Singapore Woodblock printing was then brought to Singapore by the

first generation artists in the 1950s and 60s- scene dominated by NAFA graduates like See Cheen Tee, Tan Tee Chie, Chieu Sheuy Fook, Choo Keng Kwang, Ho Kah Leong, Chua Mia Tee, Aw Tee Hong, Lee Kee Bonn, Szeto Chee Keong, Lee Boon Wang, Foo Chee San and Lim Mu Hue.

The country was in a state of turbulence with demonstrations, protests and strikes- eg: The Hock Lee Bus incident.

WhichRealism/Social Realism A movement observable in art and literature in the mid-19th C. It began in France with Courbet’s manifesto Le Réalisme. The movement’s concerns- social realities sprouted from

industrialisation. For example- life and its harsh existence (human degradation

and poverty). Artists of the movement wanted to show the “truth”- fact and

not ideals, without biases. They painted what they saw in everyday/contemporary life

which can be ugly and sordid. They rejected academic art as artificial. They also rejected Romanticism as over-indulging in

imagination- the poor and their harsh existence has been romanticised.

WhichSocial Realism in Singapore Started with a cross influence of the following;

1. Our own tradition of realist art.2. Concerns for woodcut.3. Caricature of social themes.4. A sustained aesthetic exchange with China.

Social Realists here were associated with the following;1. Woodcut Movement.2. Equator Art Society3. The Arts Association of Chinese High School.

WhichWoodcut Movement The political unrest in Singapore during The Emergency

impacted on the group of NAFA graduates (see slide 8). They turned to woodblock printing as a means of expression. Reasons for choosing this medium;

1. Expressive and evocative quality.2. Easy to produce- no sophisticated machinery required.3. Inexpensive to reproduce- propaganda through magazines, books and newspapers.

These woodcuts also depict the lowly working class engaged in their daily routines- eg: tradesmen and hawkers.

Which- Singapore Woodcut

Chinese Puppet Theatre, 1966.by Lim Mu Hue

Woodcut, 41 x 33 cm

WhichEquator Art Society Founded in 1956. Artists concern- resistance against the rising

formalist and “Western trends”. Such “trends” were believed to be incongruent

with the development of a national identity in art.

The Arts Association of Chinese High School Works resonate with more intense political

sentiment, and its anti-colonial stance. They have goals in promoting patriotism and

to “bring art closer to the masses”. (Kwok, 1996).

WhatSubject Matter Animals

Deers, arowana, goldfish, monkeys, peacocks, tigers, etc.

Figurative Landscapes/Scenes

Of Singapore and scenes from overseas during his travels to Hong Kong, Bali, Java, Spain and Italy to draw and paint in the 70s. These trips have helped him to gain fresh insights for improving his art.

PortraitsCommissioned by prominent patrons- businessmen and politicians.

WhatTheme Nationalistic Concerns

Shows aspirations of the common people in the 1950s and 60s.Reflects the political and social sentiments of that time.

Human ConditionMan’s struggles against fate.Elevating the integrity and nobility of their daily struggles

Pictorial DocumentaryDocumenting the fast vanishing scenes of Singapore.Shows landscapes that are disappearing under Singapore’s urban development, especially Chinatown.Tries to capture the spirit of the people living and working in these places.

Epic of Life in Malaya, 1955.

Oil on canvas, 107 x 126 cm

Nationalistic Concerns

What- Epic of Life in Malaya Shows a group of young adults or teenagers

gathered during the recitation of a poem entitled “Epic Life in Malaya”.

Peanuts on the floor. An attempt to dramatise the nationalistic

fervour for “merdeka” or independence in these young Singaporeans.

Each face is different from the other- highlights individuals.

The dark overcast- indicates a mood of discontent.

Chua made studies of individual figures and produced sketches of different compositions.

National Language Class, 1959

Oil on canvas, 114 x 134 cm

A class of students studying

Malay which was our national language

than.

Nationalistic Concerns

Description & Analysis Painting entitled National Language Class, done in 1959 by Chua Mia Tee. Done in oil on canvas measuring 112 x 153 cm Chua's painting shows young women and men in a classroom. 2 figures sitting at the rectangular table nearer to the blackboard, 7 figures

sitting around the round table, there are 2 standing figures in the room. All the figures do not look directly at viewer. The man standing near the blackboard is the teacher. One of the men at the

table, in white shirt and black pants is standing with a book in his hands. There are 4 women in the painting. One of the women is blocked by the

standing man except for her legs. The smiling woman is wearing a capped-sleeve Shanghai style dress looking

at the man who is standing up. The other 2 women are bespectacled. A picture hangs on the wall adjacent to the blackboard.Analysis Limited palette of warm and earthy hues. Tight space surrounding subject matter. Room looks small and confining. Colours are dull, mainly earthy tones of yellow, orange, brown. Work plaintively smooth- brushstrokes blended carefully on figures. Background- sparse and rougher brushstrokes.

Interpretation Art as a historical record of the social and industrial

developments of Singapore. Figures sitting around a round table, a symbol of equality. Also signifies a kind of a public sphere, being reminiscent of

the marble-top kopitiam tables one find in old coffee shops. As they sat facing each other, they are called to consider the

deceivingly simple question in Malay on the blackboard: Siapa nama kamu? Di-mana awak tinggal? (What is your name? Where do you live?) are questions that need to be asked of Singaporeans today.

Evaluation

Produces poignant questions of national identity.

Politically charged painting. Art as a historical record of the social and industrial developments of Singapore.

Figures sitting around a round table, a symbol of equality. Also signifies a kind of a public sphere, being reminiscent of the marble-top kopitiam tables one find in old coffee shops.

Why are the Chinese young women and men in the painting learning Malay?

Malay was not promoted as Singapore’s national language until the late-1950s.

How is this effective as a Social Realist painting?

Workers in a Canteen, 1974. Oil on canvas, 88 x 126 cm

Construction workers

lunching in a canteen.

Figurative

Road Construction Worker, 1955.

Oil on canvas, 66 x 83 cm.

“The artist must conceive his ownidea, exercise sound judgement toreflect vividly the typical character

and noble spirit of his chosen subject.”

Chua Mia Tee

Figurative

Ah Goh the Boatman, 1972.Oil on canvas, 52 x 70 cm.

Figurative

Samsui Women, 1977. Oil on canvas,

Figurative

Amah Shopping in Chinatown (Pork Stall), 1977.Oil on canvas,

Figurative

Malay Fisherman at Changi Beach, 1977Oil on canvas,

Figurative

Portable Cinema, 1977. Oil on canvas,

Landscape or Scenes

Eating on Banana Leaves, 1979.Oil on canvas,

Landscape or Scene

Tai Chi Practice at Community Centre, 1979.Oil on canvas,

Scene

Old Chinatown, 1980.Oil on canvas, 61 x 91.5 cm

Landscape or Scene

Vanishing Scene of Boat Quay, 1981.Oil on board, 60 x 90 cm

Landscape or Scene

Benjamin Sheares Bridge - The Viaduct, 1981.Oil on canvas, 122 x 244 cm

Landscape or Scene

Krishnan, 1973.Charcoal on paper,

40.5 x 30.5 cmNational Museum

Portraits

Portrait of Dato Loke Wan Tho, 1995.Oil on canvas,

Portraits

Dato Loke Wan Tho was afilm mogul.

WhyHis Background and Belief Chua is keen in art from an early age. He studied under Lim Hak Tai, Cheong Soo Pieng,

Koh Tong Leong and See Hiang To at NAFA. He believes all paintings (realistic/abstract) should

have colour harmony and compositional/design balance.

He also believes that art must reflect real life- realistic to the point of subject matter recognition.

He thinks only recognizable subject matter can “strike a responsive chord” with people because their “sense of beauty and creativity” is matched.

WhyHis Background and Belief Chua spent his childhood growing up in

Chinatown and playing at the banks of Singapore River- an influence to the many paintings of Chinatown and the river.

He saw the urgency to document scenes of Singapore before they vanish- eg: Singapore River.

“Singapore is undergoing rapid social changes, so are her people’s way of life. A painting can stand the test of time only when it mirrors the life and outlook of the people at a particular era.”

“This kind of work, I believe, will also have a role in fostering cultural exchanges and international understanding.”

How He was taught drawing, sketching with

watercolour and painting. He learnt painting with oils on canvas and

Chinese ink and colours on paper. However, he paints primarily with oils. He paints on location but refines and

completesmost of his works in the studio.

He also paints from memory and would use photographs on occasions, to recall details and for clients that are unable to sit for their portraits.

How His large pictures are based on

numerous drawings, sketches and photographs which are records of details.

He would compose the pictures through careful selection and elimination.

He adds atmospheric effect into his paintings.

References Kwok, K. C. (1996). Channels & Confluences: A

History of Singapore Art. Singapore: Singapore Art Museum.

National Museum (Ed.), (1988). Chua Mia Tee 1988. National Museum: Singapore.

Koay, S. (2001). Singapore: Multi-Cultural Crossroads. In Aljeffri, Marzuki, Mukhtar (Ed.), Visual Arts in ASEAN: Continuity and Change.Kuala Lumpur:

Prefaced by Ho Kah Leong,, Chua Mia Tee (1986). Chua Mia Tee: Singapore.

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