Abstract
Different from common appropriation strategies took by contemporary artists in Taiwan, Mu-Chi Hseih’s “Geophilosophical Mining Series” (2016) and “Unforgotten Series” (2017) use the works in Taiwanese art history for this purpose. This study focuses on the painting strategy adopted by Hseih, through the literature analysis method and the viewpoint of cultural geography, discusses how his paintings represent the cultural particularity and construct the “Taiwaneseness” meaning. This study reveals that Mu-Chi Hseih’s painting series take the landscapes of Tamsui as the “Local colors” canon, which is also the representative political symbol of Taiwan, to emphasize the subjectivity of Taiwanese art history. He symbolized the original works and turns the “local colors” into the “Taiwaneseness” in contemporary art scene in Taiwan.