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Since the mid-1990s Taiwanese artists have been responsible for shaping much of the international contemporary art scene, yet studies on modern Taiwanese art published outside of Taiwan are scarce. The nine essays collected here present different perspectives on Taiwanese visual culture and landscape during the Japanese colonial period (1895-1945), focusing variously on travel writings, Western and Japanese/Oriental-style paintings, architecture, aboriginal material culture, and crafts. Issues addressed include the imagined Taiwan and the "discovery" of the Taiwanese landscape, which developed into the imperial ideology of nangoku (southern country); the problematic idea of "local color," which was imposed by Japanese, and its relation to the "nativism" that was embraced by Taiwanese; the gendered modernity exemplified in the representation of Chinese/Taiwanese women; and the development of Taiwanese artifacts and crafts from colonial to postcolonial times, from their discovery, estheticization, and industrialization to their commodification by both the colonizers and the colonized.The central theme of this volume is "refracted modernity"--the recursive and transferable nature of modernity--in the context of colonialism. Modernity and identity in Taiwanese visual culture emerged in the cross-cultural complexity engendered by Japanese colonization. Their formation involves a range of interdependent cultural transfers and appropriations between Europe, Japan, and Taiwan. Viewed in terms of refracted modernity, the state and product of localization/appropriation appears in an eclectic manner and is often characterized by the term "hybrid." The notion of hybridity describes the complex state that results from the continuous dissemination and translation of cultures in colonial situations, thus revising the one-dimensional historical analytical models of colonialism. The model presented in this volume instead stresses original and creative aspects and renounces the notion of imitation, a judgment often imposed by the Eurocentric view. Offering many examples of hybrid expressions that render Taiwanese visual culture unique and attractive, the case studies collectively make a strong argument for revising the traditional positioning of colonialism while offering a thought-provoking perspective on Taiwan's surge forward as a major force in contemporary art today.Refracted Modernity: Visual Culture and Identity in Colonial Taiwan will be of substantial interest to historians of Taiwan, China, and Japan; art historians of Chinese and Japanese art; and scholars of colonialism, decolonization, modernism, and modernity in general. Readers in the fields of anthropology, cultural studies, visual culture, and women's studies will find its essays timely and highly informative.

Yuko Kikuchi is a Research Fellow in Art and Design History at the London Institute, Chelsea College of Art and Design.

Preface vii NoteonTransliteration ix
IntroductionbyYukoKikuchi 1
Part 1： Images of Taiwan and the Discovery of the Taiwanese Landscape
Naoko shimazu
Colonial Encounters: JapaneseTravelWritingonColonialTaiwan 21
Hsin-tien [xintian] liao
The Beauty of the Untamed: Exploration and Travel in Colonial Taiwanese Landscape Painting 39
Toshio Watanabe
Japanese Landscape Painting and Taiwan: Modernity,Colonialism,andNationalIdentity 67
Chuan-ying [juanying] Yen
The Demise of Oriental-style Painting inTaiwan 83
Part 2：Images by and about Women
Kaoru Kojima
The Changing Representation of Women in Modern Japanese Paintings 111
Ming-chu [mingzhu] Lai
Modernity, Power, and Gender: Images of Women by Taiwanese Female Artists under Japanese Rule 133

Part 3 : Construction of Taiwan’s Vernacular Landscape
Chao-ching [chaoqing] Fu
Taiwaneseness in Japanese Period ArchitectureinTaiwan 169
Chia-yu [jiayu] Hu
Taiwanese Aboriginal Art and Artifacts: Entangled Images of Colonization and Modernization 193
Yuko Kikuchi
Refracted Colonial Modernity: Vernacularism in the Development of Modern Taiwanese Crafts 217
Bibliography 249
Contributors 273
Index 277
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