YU PENG OFFICIAL SITE

重要國際藝評目錄

 

 

1.  New York Times，July 4, 1997

 

2.  New York Times, June 5, 1998

 

3.  ORIENTATIONS,   June, 1998

 

4.  ARTNEWS-New York Reviews, Oct.19

 

5   Art in America， Dec.1998

 

6.  New York Times， November 30, 2001

 

7.  New York Times, November 29, 2002,8.  Metropolitan Museum’s press release, February 9, 2007

 

9.  New York Times, April 13, 2007

 

10. Chinese Art News, No.112, May 2007

 

 

 

 

 

壹.

 

 

   傳統中國山水畫，我們還記得去年在此地紐約大都會博物館所展出的「中華瑰寶：臺北國立故宮博物院珍藏展」裡看到過，而這也是于彭水墨畫的靈感和創新來源。于彭展作（1996-1997）其直立長軸之畫作是遵從時間延展的作品，觀賞者眼光著從畫作底端的山林丘嶺，一路蜿蜒漫行到頂端的層層高山。但是在此追隨傳統之中，畫家同時結合了非正統的偏離手法，在明確的中國山水次序象徵中，刻意填入台灣現代生活中一些混亂無序的因素：裸體及著衣的人物，飲茶桌椅茶具等等蓄意以鮮明及天真的形式散置各處。

 

 

Holland Cotter    《紐約時報 藝術評論》，1997.7.4

 

 

 

 

 

From Taiwan, a Blend More Asian Than Western

 

The classical tradition of Chinese landscape painting -- memorably seen here last year in ''Splendors of Imperial China: Treasures From the National Palace Museum, Taipei'' at the Metropolitan Museum of Art -- is also the source of inspiration and resistance in the ink-on-paper hanging scrolls by Yu Peng, collectively titled ''The Moon Shines on the Deserted City, the Clouds Cover the Old Trees'' (1996-1997).

 

Mr. Yu's vertical composition is a time-honored one: the eye follows a winding route through forested hills from the bottom of the painting to the mountain at the top. But to this classical order the artist adds an unorthodox twist. He has crammed the canonical Chinese emblem of natural order with the lively chaotic elements of modern Taiwanese life: figures nude and clothed, rooms full of furniture with tables set for tea, all rendered in a deliberately edgy, faux-naive style.

 

by Holland Cotter， New York Times，July 4, 1997

 

 

 

 

 

 

 

貳.

 

 

    懷古堂現正展出「長途漂泊之旅：于彭近作展」，展期至明日。請想像席勒（Egon Schiele）式的裸體，奇異地融合著天真無邪及情慾的溫熱，宛延漫遊在傳統的中國山水畫中在來自台灣藝術家于彭此次極佳的紐約個展中，您可以從其卷軸中獲得一些想法。每一張畫都充塞著矛盾的細節：亭台與摩天大樓、古典山石與現代傢具、天真的孩童與慾望的成人、高聳的山峰與葉如倒鉤鐵絲般的茂密樹林。這是天堂嗎？或是一個暈染著現代焦慮的感官安樂鄉？不管是哪一個，結果都是才氣縱橫、個人現代風格、及令人感動的。

 

 Holland Cotter 《紐約時報 藝術評論》 June 5,1998

 

 

 

”A  MODERN  ODYSSEY : RECENT  WORKS  BY  YU  PENG,” Kaikodo , 164 East 64th Street, (212) 223-0121 (through tomorrow). Imagine Egon Schiele-style nudes, with their weird mix of innocence and sexual heat, wandering into traditional Chinese landscapes, and you have some idea of the scroll paintings by the Taiwanese artist Yu Peng in this terrific New York solo debut. Every piece is packed with contradictory details : pagodas and skyscrapers, scholars rocks and modern furniture, Buddha-like children and masturbating adults, towering mountains and dense trees with foliage barbed wire. Is this Paradise? Or a sensualist Lotus Land tinged with modern anxiety? Either way, the results are witty, stylish and touching (Cotter).

---By Holland Cotter  New York Times, June 5,1998

 

 

 

 

叄.

 

 

       來自臺灣的于彭選擇植根其畫作於中國傳統文人畫，但同時又用不落陳套的意象（包含情欲）及特意地非理性的細部安排來顛覆傳統。這可以從《北峰千仞彌高遠 松濤萬響愈深沉》作品中看出。該畫從其作品名稱、著重山水、密實畫面、謹慎孤立又熟悉的主題（如亭臺樓閣、梅枝花瓶及庭園山石等）都可以見到扎實的文人畫傳統，但是仔細觀之，又顯現一種迥異於傳統中國文人居住的世界。觀者期待透過畫中人物欣賞山水，但其人物卻與人們通常所接受的形式不一致，且其周圍浸染著一種奇異、幾乎如夢般的氣氛。觀者又可見，其畫中細節起初顯得令人熟悉，但它們卻又都稍稍扭曲變形、安適地進入于彭的世界。

 

另外比如在「浮生一夢」畫作中，一些毫無預期而出現的現代且幾近全裸的人物，其所展現的幽默俯拾皆是，例如畫中一個神仙般的裸女嫻雅端立在天堂樂園般的頂端，接著帶出了一連串充塞著似乎互不相關、卻又可能是漫遊在當今台北街頭的人物。

 

“于彭活在他自己創造的宇宙中”，張洪在以此畫展為主的《懷古堂》雜誌第八冊中寫道，“每一件他所接觸的人事物都會被他的觀點所轉化。當我們看他的藝術時，我們也變成他世界的一部份。那是一個融合視覺欣喜以及感官愉悅的世界，那是一個既現代又古代、既東方又西方、既耽溺現世又超越世俗、既單純無邪卻又錯綜複雜的世界。”

 

 

ORIENTATIONS 1998.6

 

 

 

 

 

 

 

Yu Peng, from Taiwan, has chosen to ground his work in traditional Chinese literati painting while at the same time subverting that tradition through   unconventional(including sexual)imagery and the inclusion of deliberately irrational details. This can be seen in Whistling Pines Fill the Northern Peaks, which is firmly within the tradition of literati painting in its title, its emphasis on landscape, its densely worked surface and the carefully isolated and familiar motifs, such as the pavilion, the flowering prunus in a vase and the garden rocks. A closer look reveals a very different world than that inhabited by the traditional Chinese literatus, however. The figures, through which one would expect to appreciate the landscape, conform to no readily understood types, and imbue their surroundings with a strange, almost dream-like atmosphere. One realizes that details which at first appeared familiar are slightly skewed so that they, too, fit comfortably into Yu’s world.

 

The humour in the unexpected appearance of modern, near-naked figures in this painting is found throughout Yu’s  work in One Dream From a Floating Life, for example, a nude, Guanyin-like woman poses modestly at the top of a paradisal garden filled with an array of seemingly disconnected figures who might have wandered in from the streets of Taipei.

 

“Yu Peng lives in a universe of his own creation,”writes Arnold Chang in volume Ⅷ of Kaikodo Journal, which is based on this show: “Everything and everyone he comes in contact with is transformed in accordance with his vision. When we view his art we become part of his world. It is a world of visual delights and sensual pleasures. Yu is a world that is both modern and ancient, Eastern and Western, earth-bound and transcendent, simple and complex.”

 

 

 

 

 

ORIENTATIONS,June,1998

 

 

 

 

 

 

 

 

 

肆.

 

 

 

     于彭在本次八尺超長手卷的展覽中，展現了獨特非凡的視野。其作品顯然融合了東方和西方的敏銳度，兩者不僅相互吸引，更是彼此強化。

 

在他摩天大樓式的細長作品中，常見室內傢俱重置於戶外，田園山林與都市建築相雜，茅屋與修道所比鄰而立。人群與動物群則是緩緩展現。這些異想天開的人與物，還有小精靈及裸女，安居在融合著天真和欲望的奇特山水中，似乎令人聯想起某些神話故事。

 

這位台灣藝術家的筆端傾泄出充沛的精力，上千次點染紙張，細筆構成茂密林叢。精細的筆墨融入山林庭園世界，柔和的線條繪出各式人與物。在《蓮生奇誌》之作品中，可見山丘和奇石有如海草般的線條。在《花開人不靜》之作品中則見不同層次的灰色與黑色中，覆蓋有淡紅和翠玉色彩，使得那些綠葉泛出一種微妙、珍珠般的光彩。仔細觀賞，你還會發現有幾個腦袋忽然從某些植物裏冒出來。

 

于彭人物畫的某些方面，會令人聯想起巴斯金(Jules Pascin)這類歐洲素描家。中國藝術史學者會將他的山水畫根源追溯到明末文人畫家蓄意的離奇古怪。儘管有吉卜林（Kipling） 的詩作名句(東方西方永不相遇)，但在於彭的繪畫裏，東方與西方兩半還是相遇了。

 

 

  

 

Gerard Haggerty，ARTNEWS-New York Reviews ,1998.10

 

 

 

 

 

Opposites not only attract, they can also intensify each other.Guilelessly blending Eastern and Western sensibilities in this exhibition of eight-foot-long, predominantly vertical scrolls, Yu Peng finds his singular vision.

 

 

 His skyscraper-thin paintings often relocate interior furnishings outdoors, intermingling pastoral forests and urban dwellings, thatched huts and Buddhist shrines. A bevy of figures and fauna reveal themselves slowly. The fanciful creatures and elfin nudes who populate these bizarre landscapes blend innocence and sexuality in a way that recalls certain fairy tales.

 

 

The tip of this Taiwanese artist’s energetic, ink-drenched brush touches the paper thousands of times to build up a dense thicker of tiny marks. The minute calligraphy coalesces into a mountainous world of trees and gardens, where twiggy figures are drawn in supple outline. Various trees in Meditating in the Mountains take on the appearance of hills, and carved rocks resemble seaweed. In Restless Figures Among Blossoming Flowers, washes of gray and black ink overlay pink and jade watercolor, giving the foliage a subtle, pearly glow. Look carefully and you’ll find heads blooming from some plants.

 

 

Certain aspects of Yu’s figure drawing recall European draftsmen like Jules Pascin. Scholars of Chinese art will trace his landscape’s roots back to the calculated eccentricity of post-Sung literati painters. Kipling’s poem notwithstanding, in Yu Peng’s vision of East and West, the twain do meet.

 

 

 

By Gerard Haggerty，ARTNEWS-New York Reviews  Oct.1998

 

 

 

 

 

 

 

 

 

 

 

 

伍.

 

 

 

雖然在傳統中國繪畫經典作品中未見表現欲望的裸女圖，但出生於台灣的藝術家于彭在其紐約首展當中，自信地將他的獨特視野、成熟風格帶入了現代畫壇的論述中。于彭研究過西方欲望線條的傑作，可以說他融合了馬蒂斯（Matisse)脫離古典的線條和埃貢·席勒（Egon Schiele）的敏感曲線，而精確迅捷地將此效果帶入中國山水的欲望世界中。

 

    于彭那些畫於傳統長卷上的人物，顯然是直接寫生的現代慵懶女士，躺在紫檀雕刻的睡椅上，不協調地置入士人雅齋或中國古典庭園裏。于彭將傳統筆墨及淡彩畫於宣紙上，所繪人物具有鮮活的輪廓，充分描繪出女體凝脂感，其所產生之觸感重量，幾乎有如傳說中的亞馬遜性感女戰士。畫中坦率的欲望已然夠令人驚異，而其嫺熟地將私密空間錯置入書齋或庭園的公共空間背景，更增添其欲望氣氛。為什麼這些性感女人如此大膽裸呈?這些看來頹唐無力、或裸或衣、一旁觀看或伺候的男人是誰?完全沒有提供具體答案，觀者可自由地，充滿想像地，迂回曲折遊旅於這複雜的景致中。

 

    展出畫作稍微大於一般尺寸，畫作立軸比一個人高，橫式捲軸則相當長。其畫作更新了中國繪畫中的不同手法，以令人難以置信的細筆、個人化的筆觸結構其形式——從鮮活的裸體，至Brillo式的山峰，而至動人的石頭。于彭變化豐富的熱情，共鳴著他島嶼故鄉的複雜文化歷史，既保存了中國文化傳統，同時也是複雜殖民歷史的產品。又如他長卷中的山峰，甚至避開使用一般所期待的藍色層次，而以黑色、朱紅、石青石綠等色達成了令我們驚異的美感。倘詢及于彭所擇領域，簡言之，他揭開一個嶄新的主題範疇及氛圍，然又同時保持著對傳統的忠實。  

 

    在二十世紀後期藝術要進展到新一章中，我們許多人對亞洲藝術有所期待。但是為什麼我們只看那些西方形式的各種亞洲作品?我發現于彭的創作水準，較之於近來許多到處普遍可見的亞洲觀念裝置藝術作品，相當大程度的更深邃，更能滿足視覺享受。在于彭的作品進入國際畫壇，加入這要繪製他版圖的視覺宇宙之際，如果我們把焦點放在像于彭這樣有造詣的新進的大師級畫家，不是更生氣蓬勃，也許甚至可說更激進嗎?

 

 

Robert Kushner，Art in America，1998.12

 

 

 

 

 

 

 

Although the erotic female nude is virtually unknown in the canon of classical Chinese painting, for his New York debut, Taiwanese born artist Yu Peng confidently asserted his unique, fully developed vision of the genre into contemporary discourse. Yu has scrutinized Western masters of erotic line, hybriding the Apollonian detachment of Matisse with the nervous quirkiness of Schiele, and has FedExed the result into the esoteric world of Chinese landscapes.

 

 

Yu’s languid, clearly contemporary ladies, drawn on traditional scrolls, directly from life, lounge incongruously on carved rosewood divans in Confucian interiors or inhabit classical Chinese gardens. Executed on absorbent Chinese paper with traditional brush and ink and some washes of color, the figures possess crisp contours that convincingly delineate the creaminess of the feminine flesh, yielding a nearly tactile weightiness to these nublle Amazons. The effect is startling in its candid sexuality, and the deft dislocation of private intimacy into the public context of the study or garden enhances their already sassy eroticism. Why are these luscious women so brazenly naked? Who are the effete, emasculated men, nude or dressed, who observe and serve them? Without concrete answers, viewers are free to imaginatively meander through the complex sense.

 

 

The scale is slightly oversize—the hanging scrolls taller than a person, the hand scrolls quite long. The compositions are updated lexicons of different conventions of Chinese painting—the forms being built out of an incredible range of small, individual brushstrokes—from the fleshy nudes to the Brillo-like mountains to the melting rocks. Yu’s varied passions echo the complex cultural history of his island homeland, simultaneously the preserver of Chinese traditions and the product of a complex colonial history. Even the scroll mountings eschew expected pastel shades and surprise us with sensuous black, vermillion and aqua. In questioning the limitations of his chosen confines, Yu has uncovered totally new arenas of subject matter and mood while remaining loyal to tradition.

 

 

Many of us are looking to Asia for the next chapter in the evolution of late 20th-century art, but why look just at Asian variations of Western forms? I find Yu Peng’s level of discovery considerably more profound and visually satisfying than the miles of

 

Asian conceptualist installations so ubiquitous lately. Isn’t  it more provocative, and perhaps even radical, to focus on a young, accomplished master painter such as Yu Peng, whose work is just entering the international area, and join him in his new visual universe heretofore uncharted ? –Robert Kushner

 

By Robert Kushner，Art in America，Dec.1998

 

 

 

 

 

 

 

 

 

陸.

 

 

 懷古堂十人聯展  (于彭評論部分)

此次由畫家張洪策劃的展覽相當吸引人，展出十位由46歲至94歲現代畫家具傳統意味的水墨畫作品，每個人都有些不同風格，也各有特色。在所有的畫家當中，只有一位畫家，令人驚異的于彭，奇妙的在畫作中同時併兼繪出人物景物敘事性；他的兩張長軸，一立軸，一橫卷，都相當非凡。

Holland Cotter   《紐約時報 藝術評論》，2001.11.30

 

 

 

 

 

This attractive show, organized by the painter Arnold Chang, represents a traditionalist flank of contemporary Chinese art. The 10 artists, age 46 to 94, work in the brush-and-ink landscape genre. They reveal it to be as stylistically varied and, in its subtle way, as conceptually audacious as it has aways been. ……………………Of all the artists, only one, the prodigious Yu Peng, introduces figures and narrative; his two long scrolls, one vertical, the other horizontal, are extraordinary.

 

 

                     by Holland Cotter，ART IN REVIEW; 'Ten'

 

 

New York Times， November 30, 2001,

 

 

 

 

 

 

 

 

 

 

 

 

柒.

 

 

《亞洲藝術週》  懷古堂聯展，紐約

 

展出慾望山水之海上風華

 

 

 

 

紐約東六十四街164號懷古堂展至（2002年）十二月三日的聯展中，來自台北畫家于彭一幅長達四十五呎的手捲畫軸「慾望山水」是一相當獨特長幅傑作。畫中散置上百位全裸或半裸女子，並間置著主要都是傳統中國藝術內容的山水及靜物。

 

在題材風格上，于彭和魏東是極為不同的，但是在藝術概念上都很敏銳，在形式上都相當了不起。

 

 

 

Holland Cotter   《紐約時報 藝術評論》，2002.11.29

 

 

 

 

 

 

 

 

 

 

 

 

So, incidentally, is a single monumental work by the Taipei painter Yu Peng in a group show at Kaikodo, 164 East 64th Street, through Dec. 3. Titled ''The Landscape of Desire,'' it is a 45-foot ink-painted handscroll in which hundreds of women lounge around, nude or seminude, amid a clutter of miniature landscapes and still lifes, the primary ingredients of classical Chinese art. Stylistically, Mr. Yu's work couldn't be more different from Mr. Wei's, but it is conceptually just as acidic and formally pretty stupendous.

 

 

 

By Holland Cotter  New York Times,November 29, 2002,

 

 

 

 

 

 

 

 

 

 

 

 

 

 

捌.

 

 

 

紐約大都會博物館特展

 

行旅：山川大地與胸中丘壑（2007.2.10─2007.8.26）

 

 

 

 

………「本次展覽，不採取嚴格的年代排序法，而是運用主題系列，讓觀者有機會看出在年代差異極大的繪畫之間，所具有的關連性。」大都會博物館亞洲藝術部主任暨策展人何慕文博士說，「這樣的比較，可以展現出後來的藝術家如何受先前藝術家圖像表達的影響，從而發出自己的聲音。比如在第3展覽室，於一組14世紀的山水畫中，並列著一張由當代畫家于彭（出生於1955年）在1996年所創作的水墨畫「歸隱自然」。觀者仔細研究，可以看出于彭顯然運用了這些古老大師的筆墨語彙，並受他們歸隱心態的啟發。」………

 

 

紐約大都會博物館新聞發佈摘錄 2007.2.9

 

 

 

 

 

 

 

 

 

 “Journeys: Mapping the Earth and Mind in Chinese Art”………………

"Instead of presenting works of art in a strictly chronological progression, the exhibition is organized into a series of discrete themes, so that the visitor will have an opportunity to see the connections between paintings of vastly different dates," said Maxwell K. Hearn, Curator in the Metropolitan

 

Museum's Department of Asian Art. "Such comparisons demonstrate how later artists might draw upon earlier pictorial expressions to find their own voice. In Room 3, for example, the theme of Returning to Nature through a Reclusive Life juxtaposes a painting created by Yu Peng (b. 1955) in 1996 with a group of the 14th-century landscapes. By studying them carefully, the viewer can see that Yu Peng clearly found those old masters' brush idiom and reclusive mindset inspiring," he continued.………………

 

 

 

Metropolitan Museum’s press release

 

February 9, 2007

 

 

 

 

 

 

 

 

 

 

玖.

 

 

「行旅」 ：中國藝術的胸中丘壑

 

 

 

由於中國人有這種依偎自然的心態，故以微觀管理的方法建造起園林，避入這縮小版的自然山水之中。畫展中展出的好幾張明代畫作就是有這樣的隱世場景。一位來自台灣的現代畫家于彭，也於其1996年的立軸作品描繪出這樣的場景，但還藉著強調園林中錯雜並置的人與物，增添了一些後現代的味道。   

   

 

 Holland Cotter   《紐約時報 藝術評論》，2007.4.13

 

 

 

 

 

 

 

 

 

 

 Art Review  'Journeys'

 

Mountains of the Mind in Chinese Art

 

………

 

So reliant did the Chinese become on being able to escape into nature that they built miniature versions of it in the form of micromanaged gardens. Several such retreats from the Ming dynasty are celebrated in paintings in the show. A contemporary Taiwanese painter, Yu Peng, depicts one too in a 1996 scroll but adds a drop of post-modern acid by emphasizing the garden’s artificiality and clutter.

 

 

 

By Holland Cotter  New York Times, April 13, 2007

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

拾.

 

 

 

紐約大都會博物館特展

 

行旅：山川大地與胸中丘壑

 

（2007.2.10─2007.8.26）

 

 

 

 

Maxwell K. Hearn何慕文博士是紐約大都會博物館亞洲藝術部中國書畫館主任，也是本次特展的策展人。他在接受CANS藝術新聞雜誌（2007年5月號）於紐約的採訪報導時表示，「本次展覽用8個單獨的小題目組織起來，每個題目包含不同朝代的作品。這樣的比照論證了後來的藝術家如何在繼承傳統圖像的表達上又創新自己的風格。例如，在〔洞天幻境〕這個單元，將于彭1996年創作的《回歸自然》和一組14世紀的山水畫並置，包括元代方從儀的《雲山圖》，元代王蒙的《蕭林寂亭圖》和《素庵圖》。仔細研究會發現，在于彭的作品中可以清晰看到古代大師們的筆墨用法和隱逸心態。…….于彭的當代山水畫《回歸自然》，色彩鮮豔，構圖也飽滿而現代，觀眾很容易駐足。在于彭的周圍，是一組14世紀山水畫。它們之間有明顯的共通之處，對於觀眾理解七百年前作品，于彭是很好的橋樑。」

 

 CHINESE ART NEWS   No.112  2007/05