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Migration, Transmission, Localisation
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Drawing mainly on advertisements and comics in Chinese newspapers, Singaporean scholar and educator Yeo Mang Thong demonstrates how Singapore was an important hub for artists who travelled to and lived in Singapore. Yeo’s research features amongst other things essays on sojourning artists, and fills a gap in scholarship on the pre-war visual arts scene in Singapore. Originally in Chinese, this English translation aims to bring his research to a broader audience.

Table of Contents

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  1. Cover
  2. open access
  1. Half Title Page
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  1. Contents
  2. pp. 2-3
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  1. Foreword
  2. Seng Yu Jin
  3. pp. 4-6
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  1. Tracing the Source, Seeking Profound Truth
  2. Wu Yongliang
  3. pp. 7-9
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  1. Foreword
  2. Masahiro Ushiroshoji
  3. pp. 10-11
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  1. 1 Pre-War Art Activities of the Chinese Community in Singapore Through a Narrative Framework of Diasporic Bonds
  2. pp. 13-26
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  1. 2 The Art Scene of the Singapore Chinese Community During the Late 19th Century (1886-1899)
  2. pp. 27-40
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  1. 3 A Survey of Art Activities in the Chinese Community of Singapore During the Early 20th Century (1900-1929)
  2. pp. 41-52
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  1. 4 Khoo Seok Wan and Art in the Chinese Community of Singapore During the Pre-War Period
  2. pp. 53-70
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  1. 5 Nanyang Flavour in the Advertising Illustration of Local Chinese Newspapers in the 1920s
  2. pp. 71-78
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  1. 6 The Singapore Society of Chinese Artists
  2. pp. 79-92
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  1. 7 Survey of Art Activities in Singapore During the Five-Year Period Before the War (1937-1941)
  2. pp. 93-108
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  1. 8 Images from Turbulent Times
  2. pp. 109-124
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  1. 9 "Slow But Sure": Locating Tchang Ju Chi in the Context of Local Experience
  2. pp. 125-134
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  1. 10 Sculptor Karl Duldig and Malay Boy
  2. pp. 135-140
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  1. 11 The Framework of a Specific Historical Setting: On Situ Qiao's Put Down Your Whip
  2. pp. 141-154
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  1. 12 A Study of Art Activities in Singapore During the Japanese Occupation (1942-1945)
  2. pp. 155-172
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  1. Figures
  2. pp. 173-228
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  1. Appendices
  2. pp. 229-241
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  1. Copyright
  2. p. 242
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  1. Errata
  2. p. 243
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  1. About the Author
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