"Min Sheng Bao" reported for three consecutive days (1980/12/19～1980/12/21):

Malaysian Chinese painter Chung Chen Sun will be at the Taipei History Museum tomorrow for his first return-to-China painting exhibition. Chung Chen Sun is known as the most outstanding contemporary Chinese painter and art educator in Malaysia... In 1966, he founded Malaysia's first art college, the Malaysian Institute of Art. Over the past ten years, this art college has cultivated countless art professionals. The Malaysian government has awarded him the honor of serving the country to commend his achievements. The direction of Chung Chen Sun's exploration in art is the concurrent development of Chinese and Western paintings, however, has drastically changed. He has recently switched to the freehand brushwork of Chinese literati, using ink to express the customs of the Southern Countries and the Chinese Zen abstract works.

Kuan Chih-Chung (1931-1995), who was a “Min Sheng Bao" reporter at the time and an avid student of art, used his interview titled "Exploring the Modernization of Chinese Art Painting" (1980/12/24) to position Chung as the creator of modern Chinese painting or modern ink painting. In fact, it also resonated with both Taiwan's Fifth Moon Group and Tong Fang Group's earth-shattering "Modern Chinese Painting Movement" initiative launched in 1957, and the participation of MUSEUM OF HISTORY in the Bienal de São Paulo in Brazil, which produced a unique style of abstract ink painting. However, in the interview, the question of how to abstractify ink painting was not discussed in details, such as the last question:

"What do you think of the future for the modernization of Chinese art painting?" Chung Chen Sun's reply was:

“I am very optimistic! Western artists, like Western thinkers, are facing a period of cultural depression brought about by high-tech civilization. More and more Western scholars and artists are paying more and more attention to the cultural treasure of mankind – Oriental thinking. And we are living in this treasure mountain, should we be afraid that there is no treasure to be found? I'm afraid that if we the people of the Orient "look but do not see", we can't tell the true shape of Lushan because we are in the mountain.”

On the contrary, the view of "advancing with the times" reflects Mr. Chung's faithfulness to his creative feelings and was pretty sincere: 

“Basically, I think modern people should exhibit the modern spirit. In other words, I am living out a modern person’s life and thinking which is the driving force for the themes of my art creation...I think that to be a modern painter, one should have extensive modern knowledge, and should no longer only paint one specific thing in his life as an ancient painter did.”

" United Daily News " reporter Chen Changhua also at the same time reported that "Chung Chen Sun had painted two styles of works" had raised the same questions as what Taiwan's ink painting industry concerns: "Many domestic painters had faced the circumstances that: what shall they paint?" How to express 'modern Chinese painting'? It is suggested that Mr. Chung's creation may point a bright path for Taiwan's ink painting artists.

The climax of exchanges appeared six days before the end of the exhibition (1980/12/29). Kuan Chih-Chung planned and hosted a symposium on the "Evaluation Values of Traditional Chinese Painting Art". Participants were: Professor Liu Wen-tan of the Department of Philosophy, National Taiwan University; Professor Lu Ching-Fu and Wang Hsiu-Hsiung of Department of Fine Arts, National Taiwan Normal University; National Taiwan University of Arts Professor Ling Song-lang; Lee Chi-Mao, and Malaysian Chinese painter Chung Chen Sun. It kicked off with the "modernization of Chinese painting" as the main topic, and after the various opinions, a unanimous agreement was reached: not to have culture cringe and don't get stuck with the old traditions, to have an open mind to embrace unification naturally.

In March 1981, the "Traditional Chinese Painting Exhibition from 1975 to 1980" organised by MUSEUM OF HISTORY was exhibited at the Cernuschi Museum in France. Traditional Chinese Ink painter Huang Chun-pi exhibited four paintings, Zhang Da-qian and Chung Chen Sun each exhibited three, Chiu Shan-teng and Chiang Ming- Shyan two paintings each, Chen Chi-kwan exhibited five because the museum considered it to be more modern. The remaining 37 people exhibited one painting each, which also showed Mr. Chung's weight in the art arena. In June, Chung Chen Sun attended the "1st International Symposium on Aesthetics" hosted by Tian Man-shi, head of the Department of Fine Arts of Chinese Cultural University. In August, the large-scale 1st Asian Pacific Conference on Arts Education was held at the National Taiwan Normal University and Principal Chung was one of the invited experts. The other international scholars who participated in the conference were: Dr. Lee Da Yeon, President of Hongik University in South Korea, Eigo Ohuchi, Dean of Nihon University College of Art, Director of the Cultural Center of Philippines Aberno, Professor Sushiben, Srinakharinwirot University in Thailand, Principal Wu Tsung Kan, Nanyang Academy of Fine Arts, Singapore, and Hehua Shi, a researcher in the Australian Music Department; there are four scholars from the United States: Dr. Ford, Dean of the California College of The Arts, Professor Stephens, President of Academy of Art College in San Francisco, Beverly, Dean of the School of Art of San Francisco State University, and Professor Zhuo Yiyu from California State University. At the closing, the "Asia-Pacific Conference on Art Education " was established, with President Wu Tsung Kan and Principal Chung Chen Sun as the deputy vice-chairmen.

The close contacts between Chung Chen Sun and Taiwan had finally "bear the fruit." On October 2, 1981, the Fine Arts Department of Chinese Cultural University invited him to be a visiting professor. Because of this reason, Chen Yung-mo (and later his wife Lin Qiu-fang) of Chinese Cultural University at that time became his disciple. In 2004, Chen held a solo exhibition at MUSEUM OF HISTORY. The then director Huang Kuang-nan gave him the following evaluation: "Lineage of Chung Chen Sun, his brushwork is simple enough, the composition is strange yet natural, and it breaks through all his predecessors." It seemed that he had inherited the style of his teacher. Therefore, the resume in his "Old and New Bamboo Groves" album contained such a remark: "In 1983, Professor Tian Man-shi recommended Mr. Chung Chen Sun to him to learn splash ink figure painting.", and the teacher was also happy to write an inscription for one of the student's albums.

The "International Contemporary Ink Painting Association" was established in July 1982 at the MUSEUM OF HISTORY. In addition to Chung Chen Sun, Malaysian artists also include Le Chek Wen, Tan Tong, and Huang Yao. The participating artists from Taiwan include Shen Yao-Tsu, Ho Huai-shuo, Kuan Chih-Chung, Lee Yih Hong, and Wu Hsueh-Jang; Singapore artists include Chen Wen Hsi, Tan Oe Pang, and Tan Joo Jong; Hong Kong artists include Wucius Wang, Carrie Koo Mei, and Irene Chou; Korean artists include Hong Suk-Chang, Song Soo-nam, and Chʻoe Pyŏng-sik, Guo Dawei from the United States and Pang Hui from Canada. Scholars include Joan Stanley-Baker, Bai Qizhu, and Quan Dezhou. "Hsiung Shih Art Monthly" called it "the largest modern ink painting exhibition in China in recent years with the largest number of participating painters", and published a rather abstract ink painting by Chung. In the forum, his views were more firmed and open:

Ink painting is a medium of expression through painting, not a "patent" of Chinese painting. Of course, since ink painting originated in China and has a long history of a few thousand years, it is naturally related closely to China's social norms, philosophical thoughts, and moral concepts. At present, the study of ink painting is no longer limited to China but includes all parts of the world. However, the purpose of the International Contemporary Ink Painting Association is to pursue the fundamental spiritual connotation of Oriental culture. I think that because of the pursuit of the spirit of Chinese culture, the way of expression should not be too formal. It is alright to paint with a Chinese calligraphy brush, a brush, or even a broom. Because efficiency is the fundamental requirement, all the techniques and methods that can achieve results are worth exploring.

It seemed like the modern ink painting perceived by Chung Chen Sun is not whether it is abstract or not, but to grasp the traditional spirit and use the cross-media and cross-cultural ways to interpret and showcase it, which should be the right direction we must move towards.

For Taiwan's private galleries, Mr. Chung didn't miss out on his presence either. The Tianyan Art Museum, Water Dragon Yin Art Gallery, Celebrity Art Gallery, Spring Art Gallery, Shenlai Gallery, etc. in Taipei also have had his exhibitions and even related reports about his artworks in the market. Some posters just bought back fond memories.

Related reports continued to follow his moves. Renowned art collector Chen Zibin written an article titled "A Painter and an Art Educator - Chung Chen Sun" which was published in the 154th issue of "Hsiung Shih Art Monthly" (December 1983) and although it is only half a page long, I found his comment was quite appropriate:

His ink paintings are not restricted to any rules, a maverick, full of creative spirit, and has opened a brand new era... His brushstrokes are like beyond imagination, elegant, overpowering, and unstoppable... His works have integrated traditional Chinese ink techniques with Western-style and they are modern ink paintings that carry the expression of Eastern thoughts, feelings, and philosophy.

In an article titled "The Interview of Malaysian Chinese painter Mr. Chung Chen Sun's Visit to Motherland" in "Hsiung Shih Art Monthly" Issue 157 (March 1984), apart from introducing his investment in art, it is rare to have him being so open of his cultural identity:

However, due to the differences in history and culture, Chinese painters stayed in their clique for a long time, and they rarely communicated with the Malays. The development of art and culture is almost going in different directions and are restricted by various government regulations, hence they have very little sense of belonging. However, Chung Chen Sun does not agree with the local Chinese community's biased attitude of excessively emphasizing ethnic rights and safeguarding ethnic interests, leading to closed and exclusive, extreme sinicization. While constantly negotiating with the government and fighting for the rights and interests of the Chinese, he advocated that in addition to tracing the traditional culture of the motherland, the Chinese people should also recognize the reality in front of them, so that they can integrate and assimilate the cultural landscape produced in the unique natural environment of the tropical Nanyang. On one hand is to establish self-confidence and a sense of belonging from art creation and yet, on the one hand, to create a local art path that is different from the motherland and the West, so that they can develop a style that truly belongs to them.

This also resonated with his attitude of seeking innovation and change in art creation. In another interview, he said: “I deeply believe that, as a modern Chinese ink painter, one should not always inherit traditional aesthetic concepts and painting models and hide in the ivory tower sheltered by the ancestors. Instead, one should show his or her true temperament and feelings so that traditional Chinese ink paintings can come together with the spiritual life of modern people, breaking through the bottleneck, creating a new form of modern ink painting that is full of contemporary sense.” (160th issue of "Hsiung Shih Art Monthly", June 1984)

Even rarer and honourably, the Chinese Writers & Artists Association awarded him the 25th Chinese Literary Award. He was one of the ten winners. Together with Shi Yingzhou, he won the "Overseas Literary Work Award", which showed that he is highly recognized in the Taiwan art community. Kuan Chih-Chung, who was his die-hard fan, made another report, encouraging him to stick to the path of modern ink painting: “I sincerely hope that Professor Chung Chen Sun and all comrades who are committed in the creation of modern ink painting carry on with a cautious and rigorous attitude, faithfully upholding the consistent creative belief to advance on the road of creation without any expectations and fear. New roads are always lonely and adventurous. In fact, art creation is a kind of spiritual exploration of thoughts, emotions, and forms into the unknown universe. Otherwise, where is the value of art? ── However, as long as you can endure loneliness, hold on to your principles, and can be cruel to yourself to persist on, time will be the best judge.” ("Min Sheng Bao", 1984/6/8)

In fact, his idea of fusing Chinese and Western has never been shaken. At the symposium of the Contemporary Chinese Painting Symposium and Exhibition in Hong Kong, he once said: Chinese painters should not care about whether their creative methods are traditional or modern, but should absorb foreign cultures while maintaining their roots in the tradition and establish a contemporary Chinese painting as historically, Chinese culture has been continuously absorbing foreign cultures. The above-mentioned painters are in fact in favor of integrating tradition with modernity to open a new chapter, but in terms of attitude, they may seem to be separated by having the contradictory opinions of rejecting tradition and maintaining tradition. (In 185th Issue of "Hsiung Shih Art Monthly", July 1986)

Principal Chung continued to become the cultural ambassador for Taiwan and Malaysia. The newly opened Museum of Art (now National Taiwan Museum of Fine Arts) held the 1st Fine Art Exhibition of the Federation of Asian Art Association (1988) and he was one of the representative leaders from overseas, with Huang Chaohu, the chairman of the Taichung Fine Arts Association, Moon Kun, the head of the Daegu Municipal Branch of the Korean Art Association, Niwa Toshio, President of Japan Creative Society, and Thang Kiang How, President of Modern Art Society Singapore. In the ninth exhibition in 1994, China, Japan, South Korea, Indonesia, the Philippines, Malaysia, Macau, Hong Kong, and Singapore exhibited 250 graphic paintings at the National Museum of History. Wang Tiwu, chairman of the United Daily News, presented the horse picture of Chung Chen Sun to Malaysian Prime Minister Mahathir at the 23rd Annual Conference of Chinese Language Press Institute. He also made his presence at the International Painting, Calligraphy and Printing Art Exhibition Competition (in 1995) held at National Chiang Kai-shek Memorial Hall and the Yilan Guizhulin International Art Workshop (2009). "Taiwan Art Yearbook" has it: 

Chung Chen Sun (The Drunken Sober Layperson) male, was born in Malacca in 1935. In 1987, he received a master's degree from the College of Professional Studies of the University of San Francisco, specializing in ink painting. He is truly the art ambassador of Taiwan and Malaysia.

He has been recognized as an artist in Taiwan's art history, a "friend of art" (also a "good friend") who is so familiar to us and as close as a family member.

In 2012, 78-year-old Chung Chen Sun and 88-year-old Lee Chi-mao (1925-2019) exhibited at MUSEUM OF HISTORY with "Xunfeng Art Tour", which is a bit like "away from home when young and return home when old", which had been 30 over years since the solo exhibition at Museum of History in 1980. The bamboo calligraphy and painting exhibition at the Buddha Memorial Hall in 2013 should be the end of his artistic footprint in Taiwan. This south wind blowing from Malaysia has been blowing for more than half a century. Not sure if the name "Xunfeng Art Tour"(Summer Breeze from the South Art Tour) is coincidental or intentional? It was a great honor for Taiwan to have known Mr. Chung Chen Sun, and it was a great privilege for the MUSEUM OF HISTORY to exhibit Principal Chung’s oeuvre many times over! I believe his confidant Kuan Chih-Chung and his best friend Lee Chi-mao who are in Heaven now should also be nodding their heads in agreement.