ASEAN has been carrying out art activities since its formation in 1967. Some of the artists from the region have initiated discussions about their traditional cultures and aesthetic discourses in recent years. One of the main issues during the 93 Symposium at Manilla was to call for an Asean aesthetic identity. It was due to the increasing awareness of the growing consciousness of culture and identity in the region. This paper begins with the history of the Nanyang Style which was established by a group of immigrant artists from China during the 30s and 40s. The Nanyang Style of art was an integration of traditional Chinese ink and wash painting, and was influenced by the School of Paris and local subject matter. By synthesising these three elements, the Nanyang artists were able to imbue a sense of local consciousness within their works. During the 1950s the Nanyang artists had extended their aesthetic explorations to Bali and since then Balinese indigenous art has become a major influence on the Nanyang Style. This was seen as an issue of regionalism in the early art history of Singapore. Nanyang Style became the mainstream in visual arts practice in Singapore until it was replaced by Abstract Expressionism and Pop art in the 1970s. Attempted in this paper however, is a re-examination of the Nanyang Style in order to demonstrate its significant contribution to the art world of Singapore. This paper also suggets that Nanyang Style might be reassessed as a metaphor for Singaporean cultural identity given its synthesised characteristics. This reassessment will further contribute to the broader debate concerning the shaping of an ASEAN aesthetic in the region / Master of Arts (Hons)