新加坡于19世纪开埠以后, 定为自由港, 欢迎移民。早期华人基于经济因素, 漂洋过海下南洋谋生活。他们为三餐温饱, 劳碌奔波, 精神上的枯寂, 不言而喻！较后一批“有心人”——一群南来的艺术工作者, 深感南洋文化的落后, 抱着在“炎荒”持续中国文化的心态, 推动、组织文化团体, 遂有书画会产生。中华美术研究会（原名: 华人美术研究会）就因应而生!
20世纪30年代, 一群从中国南来的美术工作者, 多数来自上海美专、新华艺大及上海艺大3校的同学, 为了宣扬艺术, 联络感情, 于1935年4月15日在当时大世界游乐场的新生活酒家开会, 发起组织艺术研究会。根据史料记载, 当天到会者有: 蔡竹贞、李云扬、林道庵、徐君濂、张伯河、林天、陈升平、刘恭熙、黄清泉和李魁士等10人。当时定会名为“沙龙艺术研究会”, 并推举林道庵、徐君濂两人负责起草简章及筹备美术展览会。因为限制入会者必须是这3校同学, 当时人数太少, 寥寥无几, 仅有十余人, 因之流产, 没能组成。
同年11月17日, 他们再度在新生活酒家召集会议, 与会者张汝器、庄友钊、张伯河、卢衡、赖文基、高振声、陈宗瑞、徐君濂、和李魁士。讨论取得共识: 决定扩大组织, 接受外界艺术同道, 征求新加坡、马来亚及荷属各地艺术爱好者参加, 定名为“华人美术研究会”, 呈交章程申请注册, 于1936年1月20日获得批准, 正式成立!
研究新加坡战前华社美术史的学者姚梦桐在《新加坡第一代书画家定位初探》一文中认为中华美术研究会的成立在新加坡美术史上具有重大的意义: 华人美术研究会的成立标志20世纪30年代中期, 新加坡的美术人才日益增加。随着艺术队伍的壮大。他们有意识地集中群体的智慧来宣扬艺术, 为居住地贡献一分力量: 他们的侨民意识淡化了, 本地意识相对加强了, 于是具热带文物风光特色的题材也进入画里；而由华人美术研究会催生的南洋美术专科学校, 有组织地培养学生, 不但培养了美术方面的师资, 而且有效地提高了画家的素质。
华人美术研究会掀开了新加坡美术走向繁荣发展的篇章！她组织健全, 拥有成就卓越的会员, 在促进美术活动、提高艺术水平的工作上付出努力: 为理想, 迎接挑战, 排除艰难, 迎得灿烂成果。屹立在历史洪流中, 已近一个世纪！她就是今天的中华美术研究会。
华人美术研究会组织健全:
理事会分正副主席、总务、中英文秘书、出版, 1940年又增添研究、交际等。理事会规定: “连选不得连任, 但不同职务不在此例”, 用于确保会务能顺利迅速地发展。
申请入会, 必需由会员介绍, 方得入会。
每月举行的集体写生与聚餐会、每年举行年展, 连续3次不出席, 或无作品参加年展, 理 事会可以取消其会员资格。
计划定期举行座谈会, 研究艺术理论, 出版周刊, 宣扬艺术, 组织艺教研究组等, 气象蓬勃！
此外, 华人美术研究会也积极参与会外美展, 例如1936年槟城杨曼生、李清庸等人筹组的嘤嘤艺术展、1937年青年励志社举行“首届马华漫画展”、同年的“救亡漫画展”、1941年联合“西人画会The Singapore Art Club”画展, 援助英国。
华人美术研究会也热烈欢迎路过新加坡或南来举行书画展览的中国美术家, 如郑可、王济远、徐悲鸿、喻世海、宁涵章、刘海粟等。
根据史料, 首先倡组美术学校的是副主席杨曼生, 1937年年杪, 他由槟城致函华人美术研究会, 提议同人筹组美术专科学校。这一卓有远见的倡议, 得到该届理事们的热烈赞同。随即, 李魁士、杨曼生、刘抗、张汝器等人被推为起草委员, 筹划创办美术专校事宜。后又得集美学校海外同学会的赞助, 公推来自厦门的美术教育家, 同时也是华人美术研究会领导人的林学大出掌校政, 终于在1938年创办了南洋美术专科学校, 高沛泽与钟鸣世也授委协助掌校, 校址设在芽笼167号。一些第一代画家如: 司徒槐、黄葆芳、钟白木、钟鸣世、张汝器、李魁士、施育艺、陈溥之、吴先德、林玉珠、郑农、吴再炎、施香沱等也被聘为教职员。
南洋美术专科学校就是当今南洋艺术学院的前身, 大家都称作“美专”。美专的成立, 实是处处荆棘, 林学大的坚强意志, 排除了重重困难, 功不可抹, 但槟城水彩画家杨曼生的倡议的史实, 也应该名留青史, 不能让其泯灭。
自此, 美专就一直负起了作育美术英才的任务。她与华人美术研究会的会员之间, 是师生、也是绘画同道, 这密切的关系, 使两者打成一片, 研究作画, 观摩砥砺, 联络分担, 一直是并肩作战, 共同负起作育美术英才与推动美术活动的工作。
第二次世界大战爆发, 1942年, 日本大举南侵, 铁蹄蹂躏星马3年8个月, 生灵涂炭, 人民生活在水深火热中！会长张汝器、副会长何光耀及多位会员庄友钊、颜长发、林道盦在检证中牺牲了, 会员星散藏匿各地, 音讯中绝, 华人美术研究会也蛰伏隐蔽, 不为敌用, 文件失毁殆尽, 会务因此停止。
战争结束后, 华人美术研究会于1946年复会, 为适应战后情形, 为环境需要, 于是重定章程, 改定名为“中华美术研究会”。刘抗获选为和平后的首任会长, 之后, 他与陈宗瑞都历任会长或副会长, 达十数年, 领导中华美术研究会, 推动美术！
光复后, 是年12月就筹办了第六届美展, 介绍战前遗绪；会员作品之外, 展会中特辟纪念室, 陈列殉难会员遗作, 另一画室则陈列古今名画, 以资观摩, 亦属创举！
中华美术研究会推动美术活动, 不遗余力, 不仅仅限于会内的活动, 也关心社会的美术教育。
其实早在 1940年华人美术研究会的《星洲日报星期刊艺·艺术》, 是当时各华文日报唯一的纯美术副刊。它和1936年戴隐郎(该会会员)主编的《文漫界》和1937年的《今日艺术》, 在不同的年份里, 既推动了美术活动, 也丰富了华文日报的副刊内容。
华人美术研究会为促进华校生对美术的兴趣, 提高华校美术水准, 1940年发起筹组星洲华校图工展览会, 并将大规模出售们券, 筹账难民。为了工作顺利进行, 成立画展筹备委员会, 委员有: 颜家声、吴再炎、张汝器、林学大、李魁士、黄葆芳、陈宗瑞、庄友钊、雷高星、刘先德、陈俊文、 徐君濂, 制订展会简章, 征求热心人士报效奖品, 以鼓励有绘画天才的学生。筹备工作已就绪, 却不获教育部批准而暂缓, 终无下闻！
中华美术研究会规定每年都要举行年展, 从不间断, 只有沦陷时期被迫停止 。
1947年发起庆祝美术节, 是新加坡美术节之始, 也计划出版美术年刊。
1956及1959年, 中华美术研究会在学校美术教育作出努力: 对学校美工课程、上课时间等诸问题, 向当局上书提建议。
主持本地画家展览, 尤其帮助年青画家, 为他们申请资金赞助, 宣传等；展后也常有评论见诸报端, 言多鼓励, 给年轻画家增加了信心！
接待海外同道、办理画展。根据记载, 联络交流的海外著名画家就有徐悲鸿、刘海粟、关山月、张大千、黄宾虹、林玉山、李曼峰、吴昌硕、王个簃、刘勃舒、宋雨桂、华君武、毕克官漫画展等, 也主办古今书画展: 1976年扬州八怪书画展, 1977年明清名家书画展。
1971年, 政府拨出欧南园其中一座组屋的第四层, 特价租给中华美术研究会, 作为会所及活动中心。由此,会务活动更为活跃。陈宗瑞艰苦策划, 执委们和赞助人落力协助下,以非盈利方式经营。但最终因无法长期应付日渐增长的租金而交还建屋局。美术中心就此走入历史,中华美术研究会唯有借用美专三山园的一间小房间为会所。之后又进过两次搬迁，分别是Kampong Euno以及9 Tagore Lane。2022年八月起，会所搬至Econ Industrial Building, 2 Ang Mo Kio St.64 #01-01F S569084。
中华美术研究会近年来, 经常组团到邻近国家旅游写生。印尼、马来西亚、柬埔寨。足迹也遍及神洲大地: 敦煌、九寨沟、云南、台湾等等, 也远到欧洲考察写生。会员们旅途中的写生, 归来后的创作, 举办画展, 编印画册专集, 汇报成绩。
中华美术研究会创立, 在星马甚至亚洲国家美术界起着既久且大的影响。她有着健全的组织, 历届理事和会员同心协力,虚心无私的为发展会务而努力。录取会员时, 严肃对待。现在申请入会者必需呈交最近新作2件作为评鉴, 通过才得以成为会员。目前拥有多位国外会员, 他们来自马来西亚、印尼、中国、法国及德国。
在第一代会员画家的协助下, 画家组织如墨澜社、三一指画会、啸涛篆刻书画会、华翰书画研究会、水彩画会等。一些画会的领导人, 泰半也是中华美术研究会的会员。有慈善画展, 会员们总是不落人后, 热心参与。这也可说是秉承华族的优良传统、先辈画家的美德所福荫！国家文化奖、国内外美术比赛, 中华会友也获奖无数, 诚为我会之光！
新加坡雄踞东西要道, 地处海、陆、空交通枢纽；知讯科技发达, 世界各地, 一切文化活动、一切文化思潮, 即发即收, 瞬间就纳入我们的脑际, 使我们有一种必需与时代共进退的反映。加上我们是个多元民族的社会, 华巫印、欧亚各族皆有源远流长的文化背景, 如何互为感染, 交相揉合,从而产生崭新的效果, 这也形成了一个值得我们继续深入探究的课题。
-摘录自 翁享祝《抚今追昔话中华》
In the 19th century, the tiny island of Singapore was declared a free port and opened its doors to immigrants. With China mired in political and economic problems, many Chinese embarked on perilous journeys in overcrowded junks to seek a better life in Singapore. Life was rough for the early Chinese immigrants. They toiled day and night just to put bread and butter on the table and had little energy for anything else. Deeply concerned about the loss of cultural practices and determined to sustain Chinese culture in their new home, a group of Chinese artists took it upon themselves to organise and promote cultural activities and practises. And thus, the Society of Chinese Artists (originally known as “Chinese Fine Arts Research Association”) was born.
The Society of Chinese Artists was founded by a group of artists hailing from the south of China in the 1930s, who wanted to promote and cultivate art in Singapore and at the same time reach out to fellow artists. The group was mostly made up of alumni from the Shanghai Fine Arts Academy, Xinhua Fine Arts Academy and Shanghai University of Fine Arts.
The group first met on 15 April 1935 at the New Life Restaurant in the then Great World Amusement Park. According to historical records, ten people attended that meeting, namely Cai Zhuzhen, Li Yunyang, Lin Daoan, Xu Junlian, Zhang Bohe, Lin Tian, Chen Shengping, Liu Gongxi, Huang Qingquan and Li Kuishi. It was in this meeting that the “Salon Art Society” was created. Lin Daoan and Xu Junlian were tasked with drafting the constitution for the new association and planning for an art exhibition.
In the beginning, only a dozen people signed up as members since membership was only open to the graduates from the three art schools and thus, plans for the new association fell through. A second meeting was called for on 17 November that same year in the same location. Participants of the second meeting included Cheong Lu Chee, Zhuang Youzhao, Zhang Bohe, Lu Heng, Lai Wenji, Gao Zhensheng, Chen Chong Swee, Xu Junlian, and Li Kuishi.
After a lengthy discussion, a consensus was reached. It was decided that the association would be renamed “The Chinese Fine Arts Research Association” and the association would be expanded to include artists from outside of the three art schools and also art lovers from Singapore, Malaysia and the then Dutch colony of Indonesia. The association was granted approval by the authorities and on 20 January 1936, the Chinese Fine Arts Research Association was officially established.
Yeo Mang Thong, a Singaporean scholar and author of “Essays on the History of Pre-war Chinese Painting in Singapore”, pointed out in his article “A First Look at the positioning of Singapore’s First Generation of Calligraphers and Painters” that the establishment of the Chinese Fine Arts Research Association was of great significance in the history of Singapore art, as the creation of the new association marked the growing number of art talents in Singapore in the mid-1930s. As the pool of art talents grew, they consciously pooled their wisdom to promote and cultivate art, contributing to the building of their new home. As time passes, the diasporic consciousness of the new immigrants started to fade as they assimilated into their new home and this was reflected in their new works, which featured themes with tropical heritage characteristics.
Singapore’s pioneer arts institution, the Nanyang Academy of Art (predecessor of Nanyang Academy of Fine Arts) was a brainchild of the Chinese Fine Arts Research Association. The academy not only provided structured training for would-be artists, but also natured educators in the field of fines arts and also effectively raised the standards of local artists.
The establishment of the Chinese Fine Arts Research Association marked a new chapter in the development of fine arts in Singapore. It was a well-organised body made up of accomplished members, who work hard to promote art activities and improve the standard of fine arts in Singapore. Despite the many challenges and difficulties, the association has stood tall for nearly a century, achieving brilliant results.
The Chinese Fine Arts Research Association was well organised. The council consisted of President, Vice-President, General Secretary, Secretary (English), Secretary (Chinese) and committer member for Publishing. In 1940, committee members for research, communication and others were added to the council.
To ensure the smooth and rapid development of the association, the constitution stipulated that council members are not allowed to be re-elected into the same position. Membership required a recommendation by existing members.
The association conducted group sketches and dinner meetings every month and also held annual exhibitions. The rules called for all members to attend these events and failure to attend any three successive events or failure to submit a work for the annual exhibition, would result in revocation of membership.
The association also regularly held symposiums, researched art theories, published weekly magazines, promoted art and organised art education research groups, all of which played a part in the development of a vibrant art scene in Singapore.
In addition, the Chinese Fine Arts Research Association also actively participated in art exhibitions outside of Singapore, including the “Ying Ying Art Society” organised by Penang artists Yong Mun Sen, Lee Cheng Yong and others in 1936, the first Malaysian Chinese Comic Exhibition hosted by the Malaysia Youth Encouragement Group in 1937 and the Salvation Comic Exhibition held the same year. In 1941, the association showed their support for artists from the United Kingdom by co-organising an exhibition with the Singapore Art Club, which was made up of western artists.
The Chinese Fine Arts Research Association also hosted calligraphy and painting exhibitions for Chinese artists passing through Singapore, including Zheng Ke, Wang Jiyuan, Xu Beihong, Yu Shihai, Ning Hanzhuang, Liu Haisu and more.
According to historical records, it was vice-chairman Yeo Mun Sen who first advocated the formation of an art school. The Penang-based artist wrote to the Chinese Fine Arts Research Association in late 1937, proposing the establishment of an art school. This visionary initiative was warmly endorsed by council members. Thereafter, Li Kuishi, Yong Mun Sen, Liu Kang and Cheong Lu Chee were elected as members of the drafting committee responsible for the setup of the new establishment.
With a sponsorship from the Overseas Alumni Association of Jimei School and the support of passionate artists, the Nanyang Academy of Art, located at 16 Geylang Road, was formally established in 1938. Lim Hak Tai, an art educator from Xiamen and one of the leading members of the Chinese Fine Arts Research Association was appointed to head the academy, while Ko Pei Teck and Cheong Ming See were entrusted with assisting in running the academy.
Many of the first generation immigrant artists including the likes of Situ Huai, Huang Baofang, Zhong Baimu, Cheong Ming See, Cheong Lu Chee, Li Kuishi, Shi Yuyi, Chen Puzhi, Wu Xiande, Lin Yuzhu, Zheng Nong, Wu Tsai Yen and See Hiang To, served as lecturers of the new art school.
The founding of the Nanyang Academy of Art, predecessor of today’s Nanyang Academy of Fine Arts, was fraught with difficulties, but with a strong will, the founding principal of the academy, Lim Hak Tai persevered in his vision for the school and eventually overcame all the challenges, leaving his mark in history. Credit also has to go to Yong Mun Sen for mooting the idea of establishing an art school, without which, the Nanyang Academy of Fine Arts would not have come to being.
Upon its establishment, the Nanyang Academy of Art undertook the task of naturing fine arts talents. Its relationship with the Chinese Fine Arts Research Association was one of teacher-student and also that of fellow artists. This close relationship brought artists and students together for the studying, research and sharing of fine art. Together, the Nanyang Academy of Art and the Chinese Fine Arts Research Association worked hard to nature new talents and promote fine arts activities.
Singapore fell to the Japanese in 1942 when World War II broke out. During Operation Sook Ching, a Japanese military operation aimed at purging anti-Japanese elements from the Chinese community, then President of the Chinese Fine Arts Research Association Cheong Lu Chee, Vice-President Ho Kwong Yew and several members including Zhuang Youzhao, Yan Zhangfa and Lin Daoan were killed by Japanese forces. Fearing the worst, members of the association sought refuge in different areas and contact was lost with many members. The association ceased all operations and destroyed all documents and materials to avoid these falling into the hands of the enemies.
In 1946, the Japanese invaders surrendered and retreated. Members of the association who were based in Singapore re-established the association with a new constitution and re-named it the “Society of Chinese Artists” (SOCA). Liu Kang was elected as the first president of the post-war period and for the next ten years and more, he and Chen Chong Swee both took turns serving as president and vice-president of the association, leading SOCA and Singapore art to new heights.
In December the year after the war ended, SOCA held its 6th annual art exhibition, showcasing the artworks of members and also famous artworks fin history and modern times. A special memorial room was also set up to display the artworks of members who had lost their lives during the war.
SOCA did not limit itself to activities within the association, but also actively promote local art activities and spared no efforts on art education.
In fact, as early as 1940, the “Sin Chew Daily News - Weekly Journal of the Arts”, published by the Chinese Fine Arts Research Association was the only pure art supplement of all Chinese daily newspapers at that time. This publication, together with that of “World of Art” (1936) and “Art Today” (1937), both edited by a member of the association Dai Yinlang, not only helped promote art activities, but also enriched the content of the supplement of Chinese daily newspapers back then.
In 1940, the Chinese Fine Arts Research Association initiated and organised the Sin Chew Chinese Schools Graphic Art Exhibition to promote interest in art among Chinese-medium schools’ students and to raise the standard of art in Chinese-medium schools. The organisers also hoped to raise money for refugees through the sale of tickets. To ensure that work could be carried out smoothly, a preparatory committee for the exhibition was set up. The members included Yan Jiasheng, Wu Tsai Yen, Cheong Lu Chee, Lim Hak Tai, Li Kuishi, Huang Baofang, Chen Chong Swee, Zhuang Youzhao, Lei Gaoxing, Liu Xiande, Chen Junwen and Xu Junlian. Their work included creation of the exhibition brochure and soliciting prizes from supporters, so as to encourage students with artistic talents to submit their work. Although all the preparatory work was completed, organisers could not secure approval from the Ministry of Education and eventually the planned exhibition had to be aborted.
Since its establishment, the Chinese Fine Arts Research Association has held an art exhibition each year. This tradition was only broken during the Japanese Occupation.
In 1947, the association now known as SOCA, launched the celebration of the “Festival of Fine Arts”, which marked the humble beginnings of Singapore Festival of Arts, the first of its kind to be held in Singapore. There were also plans for publishing an annual art journal.
SOCA also periodically expressed its opinions on various aspects of the development of arts and arts education in Singapore. In 1956 and 1959, the association submitted proposals to the authorities on issues such as schools’ art curriculum and class time.
SOCA also presided over the exhibitions of local artists, especially young artists, helping them to apply for financial support and with the publicity of the exhibitions. These were followed up with reviews in the press after the exhibitions ended, so as to encourage the younger artists and boost their confidence.
The association also organised or co-organised exhibitions for established overseas artists like Xu Beihong, Liu Haisu, Kuan Shan-yueh, Chang Dai-chien, Huang Binhong, Lin Yushan, Lee Man Fong, Wu Changshuo, Wang Geyi, Liu Boshu, Song Yugui, Hua Junwu and Bi Keguan etc. It also organised exhibitions of ancient and modern painting and calligraphy like those of the “Eight Eccentric Painters of Yangzhou” in 1976, and the “Ming and Qing Dynasty Famous Calligraphers and Painters Exhibition” in 1977.
In 1970, the Singapore government offered the lease of the fourth level of a block of public flats in Outram Park to SOCA as its clubhouse and activity center. SOCA took up the offer the following year and the new premises allowed for an expansion of activities. With the hard work put in by Chen Chong Swee and the assistance provided by committee members and sponsors, SOCA was able to operate as a non-profit association. However, due to increasing rent, SOCA had to move out of its premises in Outram Park in 1986. It later moved to the San San Campus of Nanyang Academy of Fine Arts at 107A Sophia Road. It subsequently had to move again twice, first to Kampong Eunos, then to 9 Tagore Lane. In August 2022, SOCA moved to its latest premises (Econ Industrial Building, 2 Ang Mo Kio St.64, #01-01, S569084).
In recent years, SOCA has often organised sketching trips to neighbouring countries like Indonesia, Malaysia and Cambodia. It has also organised overseas trips for its members to China and Taiwan, where members could make sketches and upon their return, create new artworks for exhibitions and also journals reflecting their experiences.
SOCA has a long and significant impact on the art scene in Singapore, Malaysia and even in Asia. It is a well-organised body with directors and members past and present, who have worked to develop the association. Admission of new members is taken seriously. Applicants for membership are now required to submit two recent works for assessment before they can become members. There are currently a number of foreign members from Malaysia, Indonesia, China, France and Germany.
With the help of the first generation of members, organisations such as the Molan Art Association, the San Yi Finger Painting Society, the Siaw-Tao Chinese Seal-Carving Calligraphy & Painting Society, the Hua Han Painting and Calligraphy Research Society and the Singapore Watercolour Society have been formed. Many of the leaders of these societies are also members of SOCA.
Whenever there are charity exhibitions, members are always keen to participate. This is part of good Chinese tradition and the virtues of our ancestors. It is also a credit to the association that our members have won numerous national cultural medallion and art competitions both at home and abroad.
Singapore sits at the crossroads of the East and the West and is the transportation hub of sea, land and air traffic. With advanced information technology, cultural activities and trends from all over the world are instantly available to us, making us feel the need to keep up with the times. In addition, we are a multi-ethnic society, with Chinese, Indian and Eurasian ethnic groups all having long-standing cultural backgrounds. We can thus interact with one another to produce new effects and this in itself is a subject worthy of further exploration.