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Chao Jung Chen, National Chung Hsing University, TaiwanAbstract
This paper examines the transcultural translation of art in the junk paintings of Taiwanese artist Kuo Hsueh-Hu (1908–2012) under Japanese colonial influence, as well as the virtual reality interpretation of his paintings with modern technology. This paper explores how transcultural influences and elements intertwine in junk painting and how junk ships in the Asian maritime era are reviving and reconnecting viewers with virtual reality today. Drawing on Erwin Panofsky’s iconology and Homi K. Bhabha’s concepts of cultural hybridity and the third space, this paper interprets Kuo Hsueh-Hu’s paintings through the lens of transcultural translation, cultural diversity, and modern adaptations of virtual reality. Kuo once studied with the Japanese artist Gobara Koto, became the first Taiwanese artist to depict junk painting with gouache, and was awarded the Sunrise Prize (Asahi-shō) at the 9th Taiwan Art Exhibition in 1935 during the Japanese colonial period. As a renowned Taiwanese virtual artist, Hsin-Chien Huang reinvented junks using virtual technology in Three States of Kuo Hsueh-Hu's Home Gazing in 2020. This research investigates how junk is reinterpreted through transcultural translation and influences in Kuo's paintings, as well as its modern interpretation through virtual reality.
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Conference: ACAH2026Stream: Arts - Visual Arts Practices
This paper is part of the ACAH2026 Conference Proceedings (View)
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