Art Education
Chung Chen Sun’s Modern Art Education Philosophy
Mr. Chung Chen Sun has dedicated his life to modern art education, advancing the modernization of international ink painting and promoting Chinese painting arts overseas. With over 60 years of artistic dedication, he has diligently studied both Eastern and Western painting theories and techniques while continuously refining his craft. His artistic career is primarily reflected in three key aspects:
Historical Background: The era and artistic characteristics that shaped his modern art education philosophy.
Social Contributions: The formation and practice of Chung Chen Sun’s modern art education ideology.
Artistic Contributions: The inheritance of tradition, exploration of the integration of Chinese and Western art, and the promotion of new trends in the international modern ink painting movement.
(I) Historical Background: The Era and Artistic Characteristics That Shaped Modern Art Education Philosophy
In the late 19th century, Malaysia was deeply influenced by British colonial rule, particularly in the development of the rubber and tin mining industries, which attracted a large influx of Chinese immigrant laborers. These immigrants not only played a significant role in the economy but also maintained close ties with their homeland, preserving and transmitting traditional Chinese culture. With the rise of the May Fourth Movement in China, a second wave of immigration brought intellectuals and overseas-educated artists, further enriching Malaysia’s cultural landscape.
During the 1920s, the concept of "Nanyang" (Southeast Asian localization) emerged in Malaysia’s cultural sphere. By the 1930s and 1940s, immigrant artists began exploring new artistic styles to reflect the uniqueness of local culture. After Malaysia gained independence in 1957, the country became a vital hub for Eastern and Western cultural exchanges, fostering the rapid development of modern art. Against the backdrop of Western modern history, the interplay between cultural impact and artistic balance became a crucial academic subject.
Chung Chen Sun’s modern art education philosophy was deeply influenced by early 20th-century Chinese educator Cai Yuanpei, the former president of Peking University. Cai's philosophy emphasized freedom of thought, moral education as the
core, world-view education as the ultimate goal, and aesthetic education as the foundation. This intellectual framework not only laid the theoretical groundwork for modern Eastern aesthetics but also had a profound impact on aesthetic research in numerous Asian universities, including the Shanghai Art Academy, Xinhua Academy of Fine Arts, Shanghai University of the Arts, and the Central Academy of Fine Arts (formerly Beiping Art School). These prestigious institutions were all inspired by Cai Yuanpei’s educational ideology in their approach to art education and aesthetic studies.
The origins of the Nanyang art movement can be traced back to the establishment of the Xiamen Academy of Fine Arts in 1922. In 1936, due to wartime turmoil, one of its teachers, Lin Xueda, sought refuge in Singapore. With the support of Chen Juexiang (son of philanthropist Tan Kah Kee), the Jimei Alumni Association of Fujian, and the Chinese Art Research Association of Singapore, Lin founded the Nanyang Academy of Fine Arts (NAFA) in 1938. The academy’s establishment marked a significant milestone in the overseas extension of China's modern art education system, earning Lin Xueda the title "Father of Nanyang Academy of Fine Arts."
NAFA adopted the teaching model of Xiamen Academy of Fine Arts while maintaining standards equivalent to China’s leading art institutions. During its early years, the academy actively raised funds to support China’s war efforts and provide aid to refugees. This initiative fostered strong connections with renowned artists such as Xu Beihong and Liu Haisu.
Following Japan’s surrender in 1945, numerous distinguished artists—including Chen Zongrui (Shanghai Art Academy), Liu Kang (a disciple of Liu Haisu), Li Dabai, Zhong Sibin (Xinhua Academy of Fine Arts), Shi Xiangtuo, Chen Wenxi (a student of Pan Tianshou), and Zhang Liying—migrated south to join the faculty of NAFA. These artists not only brought with them the rich traditions of Chinese painting but also introduced Western oil painting techniques, laying the foundation for the Nanyang art movement.
In the process of integrating traditional Chinese techniques with local Southeast Asian themes, these pioneers established the distinctive Nanyang Art Style, forming the first generation of Nanyang artists. Key figures in this movement included Chen Wenxi, Zhong Sibin, Chen Zongrui, and Liu Kang. Their works embodied a synthesis of Eastern and Western artistic expressions while profoundly capturing the cultural essence of the Nanyang region. This unique fusion laid a solid foundation for the evolution of the Nanyang art movement. (Figure 1)
Figure 1 - 1955: Nanyang Academy of Fine Arts students and teachers sketching from nature at the Botanic Gardens.
Between 1952 and 1955, Chung Chen Sun studied at the Nanyang Academy of Fine Arts (NAFA), where he developed a deep and lasting mentorship with the academy's principal, Lin Xueda (1893–1963). During their time together, the two would often gaze at the starry night sky, engaging in profound discussions. Chung Chen Sun was profoundly influenced and inspired by Lin Xueda’s educational philosophy.
In 1955, Lin Xueda proposed the “Six Principles of Nanyang Art,” which became a cornerstone of Chung Chen Sun’s art education philosophy. These principles include:
Integrating Multicultural Influences
Bridging Eastern and Western Art Traditions
Reflecting the Scientific Spirit and Social Trends of the 20th Century
Addressing the Needs of Local Communities
Expressing the Unique Characteristics of the Tropical Region
Combining Educational Significance with Social Function
Artistic Influences and Creative Development
In his artistic practice, Chung Chen Sun was deeply influenced by his mentors, Chen
Zongrui (1910–1985), Zhong Sibin (1917–1983), and Chen Wenxi (1906–1992). He fully inherited their artistic philosophies and techniques, integrating them into his own creative approach.
Among these influences:
Chen Wenxi’s theories of “Segmentation Method” and “Parabolic Theory” (Figure 2) had a profound impact on Chung Chen Sun.
Chen Zongrui emphasized the philosophy of “reading ten thousand books and traveling ten thousand miles,” advocating for the integration of field studies with painting techniques (Figure 3). He encouraged artists to draw inspiration from real life and elevate it into artistic expression.
Zhong Sibin’s concept of “Dot and Flow” incorporated Western principles of contrast and balance in composition (Figure 4) while maintaining the use of traditional Chinese colors such as black, ochre, yellow, and gray.
These artistic theories and techniques became fully embodied in Chung Chen Sun’s work, forming the solid foundation for the development of his unique artistic style.
Figure 2: Chen Wenxi’s Advocated “Segmentation Method”
Figure 3: Chen Zongrui’s Emphasis on the Integration of Field Studies and Techniques
Figure 4: Zhong Sibin’s “Dot and Flow” Theory
(II) The Formation and Practice of Chung Chen Sun’s Modern Art Education Philosophy
In Malaysia, Chung Chen Sun played a role similar to that of Xu Beihong in Beijing and Liu Haisu in Shanghai—not only achieving remarkable accomplishments in painting but also actively advancing the field of art education.
Chung Chen Sun’s modern art education philosophy can be divided into three stages:
1. Establishing a Multicultural Model for Malaysia’s Modern Design and Art Education
After graduating from the Department of Art Education at the Nanyang Academy of Fine Arts (NAFA) in Singapore, Chung Chen Sun returned to Malaysia and dedicated himself to art education. Over the years, he taught at Pei Zhi Chinese Primary School and Kindergarten in Malacca (1956), Seremban Chung Hua High School in Negeri Sembilan (1957–1961), and Kuen Cheng Girls’ High School in Kuala Lumpur (1962–1974) as an art teacher.
Throughout his teaching career, Chung Chen Sun firmly adhered to the philosophy of “mutual learning between teachers and students.” His experience teaching at the kindergarten level, in particular, deeply influenced his artistic outlook. Inspired by children's uninhibited and imaginative thinking, he recognized their boundless creativity—an insight that later became a significant source of inspiration for his own artistic creations.
During his tenure at Seremban Chung Hua High School, Chung Chen Sun stood out as one of the few formally trained art educators in Malaysia at the time. His passion for teaching was evident in his efforts to encourage students to participate in various national art competitions, including those held by the National Art Gallery in Kuala Lumpur, where his students consistently won prestigious awards. He was highly respected and beloved by his students.
Additionally, he established the “Art Research Society” at the school, offering free art guidance every Saturday after class, further contributing to the advancement of art education. (Figure 5)
Figure 5 - Pei Zhi Chinese Primary School and Kindergarten / Seremban Chung Hua High School / Kuala Lumpur Kuen Cheng Girls' School.
In 1958, won the Group Championship in both Category A and B of the Young Artists’ Painting Competition in Singapore and Malaya. Front row, fourth from the left: Chung Chen Sun’s wife, Lee Soo Li. Back row, first from the left: Chung Chen Sun.
After Malaysia gained independence in 1957, the nation set forth a cultural objective to shape “Malaysian Art” as part of its national identity.
In the early 1960s, when Chung Chen Sun arrived in Kuala Lumpur, Malaysia was in the early stages of breaking away from British colonial rule. The country faced a state of economic and social instability, and the cultural landscape was often described as a “cultural desert.”
Recognizing the profound impact of modern design and art on the country’s economic
and cultural development, Chung Chen Sun, driven by a strong sense of national responsibility, dedicated himself to art education.
In 1967, he founded the Malaysian Institute of Art (MIA), the only non-profit art institution in the history of Malaysian art education. The establishment of MIA not only filled a critical gap in the cultural sector but also laid the foundation for Malaysia’s multicultural artistic identity, marking the beginning of a new chapter in art education. (Figure 6)
Figure 6 - June 29, 1967: Malaysian Institute of Art (MIA) Opening Ceremony at its Femon Road campus. The ceremony was officiated by Deputy Minister of Education, Tan Sri Lee Siow Yew, with a speech delivered by Chung Chen Sun.
Between 1969 and 1970, Chung Chen Sun was invited by the governments of Germany, the United Kingdom, and the United States to conduct an in-depth study on modern art education.
Among these invitations, he was officially invited by the West German government to attend the 4th Documenta (1969) in Kassel, one of the world’s most prestigious contemporary art exhibitions. As the President of the Malaysian Institute of Art (MIA) and an ink painter, Chung Chen Sun took this opportunity to thoroughly examine the state of modern art development in these countries.
The research delegation consisted of six experts from various fields, including painters, educators, and officials from the Ministry of Culture: Ismail Zain, Khoo Cheng Phuat, Yeoh Jin Leng, Grace Selvanayagam, and Zainal Abidin (Figure 7). The team members came from diverse backgrounds, with Chung Chen Sun being the only representative from a private higher education institution.
This international study tour provided valuable insights that further shaped his philosophy on art education.
Figure 7 - 1970: Invited by the West German government for an academic visit, Chung Chen Sun and six other Malaysian artists were photographed in front of the Berlin Wall. From the left: Zainal Abidin (1st), Jolly Koh (3rd), Yang Ren Ling, Ismail Zain, Grace Selva Nayagam, and on the far right, Chung Chen Sun.
During this study tour, the delegation visited prominent art institutions in West Germany, including the Berlin Art Museum and the country’s renowned art villages. A particular highlight was their visit to the Bauhaus School, where they participated in seminars and academic exchanges.
Chung Chen Sun was deeply intrigued by the Bauhaus philosophy and curriculum, especially its emphasis on the integration of art and industry. The Bauhaus education system, founded by pioneering pre- and post-war avant-garde artists such as Wassily Kandinsky, Paul Klee, Johannes Itten, and László Moholy-Nagy, left a profound impression on him. Reflecting on the visit, he remarked:
“Under the influence of German pragmatism, art should be closely integrated with industry. Artists must embed creativity into everyday life and societal needs.”
Incorporating Bauhaus Principles into Malaysian Art Education
Profoundly inspired by Bauhaus pedagogy, Chung Chen Sun integrated its principles into his teaching practice in the 1970s. Through systematic visual training programs and color theory courses, he redefined students' perspectives on the world and incorporated these principles into the foundational curriculum of the Malaysian Institute of Art (MIA) (Figure 8).
Additionally, he placed great emphasis on observational drawing and technical training, core aspects of Western realism. He encouraged students to pay close attention to detail and discover creative elements in nature. To reinforce these skills, he introduced a daily warm-up sketching exercise, requiring students to
complete a series of quick sketches in five-minute rotations, capturing different models or surrounding objects within a 30-minute session.
Chung Chen Sun strongly advocated the philosophy of “Art in Life, Life in Art”, promoting the fusion of applied and fine arts. His goal was to cultivate innovative artists capable of adapting to modern industrial production and societal needs. This comprehensive educational model not only enhanced artistic creativity but also strengthened the connection between art and everyday life, ensuring that students could effectively address the evolving demands of contemporary society.
Chung Chen Sun upheld the philosophy of “Reading ten thousand books and traveling ten thousand miles”, extensively exploring global education systems while actively participating in international seminars and exchanges on art education.
He valued the core creative training of Western modern art education while simultaneously emphasizing the intrinsic value of Eastern traditional culture.
In 1990, to promote ink painting, he entrusted his disciple, Xie Tian Song, to develop and implement the National Standardized Ink Painting Examination (Figure 9).
Following this initiative, Nanyang Academy of Fine Arts (NAFA) alumni Yu Shifu and Wu Qichang, both disciples of Shi Xiang Tuo, joined the Malaysian Institute of Art (MIA), working together to advance the widespread development of ink painting education.
Figure 9 – Malaysian Institute of Art: National Standardized Ink Painting Examination (Six Levels)
Figure 8 – Bauhaus Visual Training and Color Theory Courses
The 1960s was a crucial era when Malaysian art began to align with the global art movement. The establishment of the Malaysian Institute of Art (MIA) injected new vitality into this process. While preserving the traditions of Nanyang Art, the institute also stimulated national cultural consciousness, providing fertile ground for the formation of "Malaysian Art."
Over the course of more than three decades of artistic education practice, Chung Chen Sun deeply explored the practicality and aesthetic value of art, emphasizing the integration of fundamental education and innovation. His efforts laid a solid foundation for Malaysian art education, setting a benchmark for the field.
For decades, MIA has nurtured tens of thousands of art professionals, many of whom are now active worldwide. At the same time, MIA has earned international recognition, further enhancing Malaysia’s presence in the global art scene.
During his tenure as an educator, Chung Chen Sun was also dedicated to promoting the development of Malaysian Chinese culture and fostering international exchanges. He served as the President of the Malaysian Chinese Cultural Society for 15 years, playing a crucial role in advancing cultural dialogue and artistic collaboration.
2. Emphasizing Localization, Regionalization, and Globalization in Modern Art and Design Education
The period from the 1980s to the early 1990s marked the expansion of Chung Chen Sun’s modern art education philosophy, centered around the three key principles of localization, regionalization, and globalization.
Between 1981 and 1988, he was invited to serve as a Visiting Professor in the Department of Fine Arts at the Chinese Culture University in Taiwan, where he conducted specialized lectures and courses on ink painting. During this time, he
pioneered a groundbreaking and reformative teaching methodology for ink painting, introducing avant-garde experimental elements into the tradition of Eastern art.
The core aspects of this innovative teaching method included:
Breaking away from conventional painting techniques.
Transitioning ink painting from tabletop execution to easel-based creation.
Utilizing visual elements such as points, lines, and planes to construct compositions, forming an entirely new mode of visual expression.
Chung Chen Sun also sought to incorporate Bauhaus visual principles into ink painting, a bold and unconventional move at the time. While some traditionalist professors initially expressed reservations about this approach, he successfully cultivated a new generation of young ink painting enthusiasts, including artists such as Chen Yongmo.
The concept of integrating modern artistic symbols into ink painting attracted significant attention. In March 1981, the Cernuschi Museum in Paris, France, hosted the "New Trends in Chinese Modern Painting" Exhibition, which featured:
Four traditional paintings by Huang Junbi
Three "Blue-Green Landscape" paintings by Zhang Daqian
Three innovative works titled "Natives" by Chung Chen Sun
Five pieces by Chen Qikuan, whose works exhibited a stronger modernist aesthetic
Additionally, 37 other artists each showcased one artwork, fully demonstrating Chung Chen Sun’s significant status in the field of modern ink painting (Figure 10).
Figure 10: The "New Trends in Chinese Modern Painting" Exhibition at the Cernuschi Museum, Paris, March 1981, featuring Zhang Daqian’s Blue-Green Landscape and three innovative works titled Natives by Chung Chen Sun.
During his time in Taiwan, Chung Chen Sun established deep connections with like-minded artists such as Ou Haonian, Li Yihong, Chiang Zhaoshen, Chen Qikuan, Guan Zhizhong, Hong Genshen, and Li Qimao.
Building upon these relationships, he gradually conceived and promoted the development of the international modern ink painting movement.
In 1982, leveraging his extensive international network and the support of artists,
writers, and critics, Chung Chen Sun co-founded the "International Contemporary Ink Painting Association" (ICIPA) with Guan Zhizhong and served as its founding president (1982–1987).
This organization became the first transnational modern art association in the Asia-Pacific region, laying a significant foundation for the international development of modern ink painting. (Figure 11)
Figure 11 - July 1982: Attended the opening ceremony and academic symposium of the 1st International Modern Ink Painting Alliance Exhibition hosted by the National Museum of History in Taiwan. Fourth from the right: Chen Chi-Lu, Director of the Council for Cultural Affairs, officiating the ceremony.
Since the late 1970s, Nanyang Academy of Fine Arts (NAFA) had experienced significant decline in both administrative management and curriculum development, with traditional teaching content gradually stagnating.
By the early 1980s, a comprehensive restructuring of the institution had become an urgent priority. In 1982, at the invitation of Principal Ng Chong Gan, Chung Chen Sun was appointed as an academic advisor and proposed the establishment of the Nanyang Fine Arts Research Center. This initiative marked the official beginning of NAFA’s transformation process.
In his 1985 article Seminar on the Nanyang Fine Arts Movement, Chung Chen Sun noted that since 1978, signs of decline in the movement had become evident. As an alumnus, he felt a strong sense of responsibility to revitalize the movement, particularly in the areas of administration and creative development.
In 1988, drawing from his extensive experience as a visiting professor in Taiwan and as an advisor to NAFA in Singapore, Chung Chen Sun returned to the Malaysian Institute of Art (MIA) and initiated a comprehensive restructuring of its personnel, administration, and curriculum system.
This restructuring involved the establishment or reorganization of seven faculties and thirteen disciplines, covering foundation courses, fine arts, graphic/advertising design, computer-aided design, interior design, theater and film, music, fashion design, industrial design, the Department of Continuing Education, the Oriental Art Research Center, and the Art Collection Department.
That same year, MIA established a four-story branch campus at Jalan Sungai Besi, dedicated to housing the Fine Arts and Theater Departments. In 1989, the institute acquired a new campus at Taman Melawati as its main headquarters, while the Theater and Music Departments remained at their original location.
In the late 1980s, as Malaysia established diplomatic relations with the People's Republic of China, Chung Chen Sun was invited to visit China for a month-long cultural exchange.
As a member of the national delegation, he set foot on Chinese soil, witnessing a nation in the midst of revival and reconstruction.
In 1988, at the invitation of the China National Academy of Painting, Chung Chen Sun participated in the inaugural International Ink Painting Exhibition and its associated forums. (Figure 12)
At the exhibition, he observed a series of highly innovative artworks. Subsequently, he visited eight top-tier art academies, where he noted that modern design and fine arts education had yet to receive the recognition they deserved. Only a handful of pioneers were actively advancing these fields.
This reality left a profound impact on Chung Chen Sun, inspiring deep reflections on the future of art education.
Figure 12 - October 27, 1988: Beijing International Ink Painting Theory Symposium.
Figure 13 - August 17 to September 20, 1991: Led the Malaysian Chinese Cultural Association Art Delegation on an official visit to the China Federation of Literary and Art Circles. Front row, from the second left to the right: Liu Boshu, Wu Guanzhong, Chung Chen Sun, and Hua Junwu. Attended a welcome banquet hosted by the Ministry of Culture at the Beijing Hotel, celebrating with Minister Gao Zhanxiang and Mr. Li Wenzhong.
In 1991, Chung Chen Sun led the Malaysian Chinese Cultural Association’s Fine Arts Delegation (Figure 13) on a visit to China. This journey further strengthened his determination and sense of mission in advancing modern design and arts education.
Upon returning to Malaysia, Chung Chen Sun brought together a group of accomplished students and friends from the design field to establish the International Modern Design Group. Their goal was to introduce his design education philosophy to China.
With the support of the Chinese Embassy in Malaysia and the National Education Commission of China, years of negotiations and preparations ensued. Ultimately, Chung Chen Sun selected Yunnan University and Inner Mongolia Normal University as pilot institutions for collaboration. These two universities were chosen for their distinct cultural landscapes—Yunnan University representing the diverse ethnic cultures of Southwest China, while Inner Mongolia Normal University embodied the rich heritage of the northern grasslands.
In 1994, in partnership with these universities, Chung Chen Sun successfully established the International Modern Design Art College of Yunnan University (Figure 14) and the International Modern Design Art College of Inner Mongolia Normal University (Figure 15).
The founding principle of these institutions was:
"To integrate the essence of Western modern design with the artistic spirit of Chinese traditional culture, constructing a new Oriental design system. The goal is to cultivate modern design professionals who meet China’s higher education standards while attaining international recognition."
Additionally, these schools pioneered an innovative “One University, Two Systems” model within the framework of Sino-foreign cooperative education.
Figure 14 - April 8, 1994: Attended the inauguration ceremony and press conference of the International Modern Design Art College of Yunnan University, China.
Figure 15 - October 22, 1994: Celebration ceremony for the establishment of the International Modern Design Art College of Inner Mongolia Normal University.
Professor Yuan Yunfu of the Academy of Arts & Design, Tsinghua University, remarked, “Following China’s reform and opening-up, he persevered in arts education despite challenging conditions. He remained true to his mission, aligning his work with the needs of national development, demonstrating sincerity and integrity in his efforts.”
Similarly, Professor Huang Guoqiang stated, “He established three academies—one at Inner Mongolia Normal University, one at Yunnan University, and one in Zhuzhou. Over the past decade, these institutions have produced nearly ten thousand graduates, all without utilizing a single cent of government funding. The impact of this is immeasurable. Even more significant is the fact that he introduced internationally advanced design concepts and teaching methodologies, sending numerous faculty members to Malaysia for training. I firmly believe that, with economic progress, China’s design and artistic endeavors will soon stand at the forefront of the global stage.”
3. Advocating the Integration of Art and Technology: A Modern Design Arts Education Philosophy in Pursuit of Truth, Goodness, and Beauty
In 2000, Chung Chen Sun introduced the educational philosophy of “The Intersection and Integration of Art and Technology”, which subsequently guided the establishment
of the Malaysia International Institute of Information and Arts Design and the Zhengshan International School of Design and Arts at Hunan Yandi College in Zhuzhou, Hunan, China (Figure 16). These institutions emphasized emerging information technology as their defining characteristic, aiming to foster the evolution of arts education for the 21st century. Through the shared resources of a globalized world, they sought to create artistic expressions that harmonized both local cultural identity and regional aesthetics.
Chung Chen Sun frequently emphasized, “The more globalized something becomes, the more it tends to embrace its national essence.” This perspective reflects his deep insight into the significance of cultural localization in the context of globalization.
While fully recognizing the role of technology in enhancing the functionality of design and the arts, Chung Chen Sun also expressed deep concern over the potential loss of artistic essence and creativity due to excessive reliance on technology. He urged that technological applications should always be guided by human-centered principles, as only then could they truly contribute to a better world. At the same time, he stressed the fundamental importance of traditional artistic skills, viewing them as the foundation of an artist’s true strength and an indispensable core element in artistic creation.
Figure 16 - 2000 : Opening ceremony of Chen Sun International Modern Design Art College at Hunan Yandi Specialized University.
Conclusion
From the 1960s, when Chung Chen Sun advocated "Art in Everyday Life, Everyday Life in Art," emphasizing the integration of applied and fine arts; to the 1980s, when he proposed "Rooted in the Spirit of Traditional Chinese Art and Culture, Absorbing the Essence of Western Modern Design to Form a New Oriental Design System"; and finally, to the 2000s, when he introduced the philosophy of "The Intersection and Integration of Art and Technology"—his visionary approach has consistently been at the forefront of the times, making him a leading figure in modern design and art education.
For decades, Chung Chen Sun and his team have upheld this mission in their teaching practices. With the joint efforts of the institution’s leadership, faculty, and international educators in Malaysia, the five academies he established have trained tens of thousands of design professionals. These graduates, equipped with modern design concepts and the ability to apply contemporary design techniques, have spread across the globe, contributing to the advancement of the field worldwide.