結廬開徑近雲根：于彭中期書畫選粹｜文：沈裕昌
結廬開徑近雲根：于彭中期書畫選粹
Dwelling Near the Roots of Clouds: Selected Paintings and Calligraphy of Yu Peng
文｜沈裕昌
一個藝術家的生命，和他的藝術之間，是否具有某種必然的對照關係？中國古代有所謂「書如其人」之說，在近代則頗受到非難與質疑。然而，這個古老的命題所欲討論者，或許並非普遍的事實，而是一種極為難得的理想。藝術家于彭（1955-2014）的一生行止，確實充滿傳奇。但是，這些傳奇故事背後所隱含的，卻是各種難以調和的矛盾。因為，于彭對於每一個別事物的真摯之愛，使他難以出於系統化的目的，削減個別事物間之差異；而是選擇保留他所熱愛者的一切，並努力在激烈的矛盾中保持臨在。
Is there an inherent and inevitable relationship between an artist's life and their art? In ancient China, there was a saying, "the calligraphy reflects the person," which in modern times has faced considerable criticism and skepticism. However, this ancient proposition may not aim to state a universal truth but rather to describe a rare ideal. The life of artist Yu Peng (1955-2014) was indeed filled with legendary episodes. Yet, behind these legendary stories lie various irreconcilable contradictions. Yu Peng's sincere love for each individual element made it difficult for him to reduce the differences between them for systematic purposes. Instead, he chose to preserve everything he cherished and strove to maintain his presence amid intense contradictions.
因此，當我們說于彭的藝術緊密地貼合著他的生命時，並不意味著我們只能從生命史的角度去理解他的藝術，而毋寧是希望強調他的藝術與生命存在著同等強烈的矛盾，其中透露著對於各種悖反價值的難以取捨和猶豫不決。或許，這才是于彭所謂：「我的藝術是用生命換來的。」其背後的真義。于彭創作生涯的早期，正好遇上解嚴。因此，儘管他的藝術與生命中的矛盾，多少來自台灣政治局勢的遷變與紛亂；解嚴前後自由表達的社會風氣，甚至加劇了各種價值的矛盾，卻也使他得以自由地進行選擇——或不選擇，也即選擇一切，並保留其矛盾。
Therefore, when we say Yu Peng's art closely aligns with his life, it doesn‘t mean we can only understand his art through his life history. Rather, it emphasizes that his art and life share equally intense contradictions, revealing his struggle and indecision between conflicting values. Perhaps this is the true meaning behind Yu Peng's assertion, "My art is exchanged with my life." In the early period of Yu Peng's career, he encountered the lifting of the martial law in Taiwan. Hence, although the contradictions in his art and life partly stemmed from Taiwan's shifting and chaotic political landscape, the social atmosphere of free expression after the martial law was lifted further intensified these conflicting values. This environment allowed him the freedom to choose—or not to choose- which was a choice to embrace everything and retain his contradictions.
值得注意的是，儘管于彭自視為中國傳統文化的繼承者，但是此一「繼承」並非來自無意識的被動接受，而是有意識的主動選擇。因此，此處所謂「繼承」，既是自覺的，也是自由的，或許更接近於「追求」。事實上，于彭從事各種類型的創作，皆少師承，而多自學成家。易言之，他並不屬於那種早年習得一切創作相關的知識與技能後，終生嘗試將其冶於一爐，並苦惱著如何自鑄其面目的創作者；而是一邊傾其當下有限之所學，全力以赴地創作，一邊不間斷地學習新知。
It is worth noting that although Yu Peng viewed himself as an inheritor of Chinese traditional culture, this "inheritance" was not a passive and unconscious acceptance but a conscious and active choice.Therefore, this "inheritance" was deliberate and free, perhaps more accurately described as a "pursuit." In fact, Yu Peng engaged in various types of creative endeavors with little formal mentorship, mostly self-taught. In other words, he did not belong to the type of artist who, having acquired all relevant knowledge and skills early on, spent a lifetime trying to integrate them and struggled to forge a unique identity. Instead, he poured all his limited knowledge into his creations with total dedication while continuously learning new things.
因此，于彭的創作生涯，其實具備多重意義：一方面，他因為身處於「傳統」的外部，不但無需在特定的師承中，被迫繼承某種特定的傳統，反而擁有一個絕佳的身份與機會，得以在所有可供擇取的傳統中選擇性地繼承，因而可謂以某種非傳統的方式，繼承了巨大的傳統；另一方面，也因為其並無師承，故其創作生涯本身即充滿各種難以預測的變化，並表現為對各種難題的精彩搏鬥，和出人意表的解決方式。因為于彭的創作生涯，確實存在著可見的轉折和變化，也讓論者嘗試對他的作品進行分期。
Therefore, Yu Peng's artistic career holds multiple meanings. On one hand, being outside the "tradition" meant he was not compelled to inherit a specific tradition through a particular mentorship. Instead, he had an excellent identity and opportunity to selectively inherit from all available traditions, thus inheriting a vast tradition in a non-traditional way. On the other hand, lacking formal mentorship meant his artistic career was full of unpredictable changes and showcased a brilliant struggle with various challenges and unexpected solutions. Because Yu Peng's artistic career indeed contains visible turns and transformations, it invites scholars to attempt to periodize his works.
于彭辭世之後，藝術史學者吳超然在臺北市立美館策劃了「于彭：行者．天上．人間」展覽，並在〈關於「于彭：行者．天上．人間」〉一文中，提出關於于彭創作的分期問題。吳超然指出，于彭畢生的創作歷程，可以分為三個階段：（1）早期 1980-1997 年，（2）中期1998-2004 年，（3）晚期 2005-2014年。我們可以注意到，在吳超然的分期方式中，于彭的「早期」（17 年），就時間跨度而言，甚至超過了他的「中期」（6 年）加上「晚期」（9 年）。然而，在于彭的創作生涯中，之所以會有一段如此漫長的「早期」，實在是因為自學成家的他，確實度過了一段極長的摸索期。
After Yu Peng's passing, art historian Wu Chao-Jen curated the exhibition "A Wanderer between Heaven and Earth: Yu Peng and His Life Work" at the Taipei Fine Arts Museum. In his essay "Regarding 'A Wanderer between Heaven and Earth: Yu Peng and His Life Work," Wu addressed the issue of periodizing Yu Peng's creative work. Wu identified three phases in Yu Peng's artistic journey: (1) Early period (1980-1997), (2) Middle period (1998- 2004), and (3) Late period (2005-2014). It is noteworthy that in Wu's periodization, Yu Peng's "early period" spans 17 years, which is longer than both his "middle period" (6 years) and "late period" (9 years) combined. This prolonged "early period" in Yu Peng's career can be attributed to his extensive exploration and self-teaching process before establishing his unique style.
1977-1980 年，于彭在臺北新公園街頭擺攤畫素描。1981 年，他和朋友赴巴黎旅遊，因故轉往曼谷並飛抵希臘，又因緣際會前往當時對台灣而言尚屬禁區的中國，展開百日壯遊，見識山水名蹟。1985年，他正式以水墨為創作語彙。1989-1992年，他開始很有意識地學習古典水墨傳統。直到 1997 年，他才終於確立了將素描式人體與仙童或自畫像融合在山水與庭園之中的構圖。素描的基礎、山水的遊歷、水墨的傳統，三者在 1997 年終於冶於一爐，因此將 1980-1997年定為早期，確實合理。
From 1977 to 1980, Yu Peng sketched portraits on the streets of Taipei NewPark. In 1981, he traveled to Paris with friends, but due to unforeseen circumstances, he diverted to Bangkok and then flew to Greece. By chance, he ventured into China, which was still a restricted area for Taiwanese at the time, embarking on a hundred-day journey to explore famous landscapes. In 1985, he formally adopted ink painting as his form of creative expression. Between 1989 and 1992, he consciously studied classical ink traditions. It wasn't until 1997 that he finally established a composition that integrated sketch-like human figures with celestial beings or self-portraits within landscapes and gardens. The foundation of sketching, the experience of landscape exploration, and the tradition of ink painting were all unified in 1997, making it reasonable to define 1980-1997 as his early period.
如果說 1981 年的希臘與中國之旅，為 1985 年創作語彙的改變種下遠因；那麼 1997 年的上海之旅，則可謂為 2000 年前後的創作高峰迎來契機。2000 年前後是于彭創作的高峰期，他舉辦了包括 1998 年美國紐約懷古堂「搜盡奇峰打草稿」、1999 年臺北大未來畫廊「慾望山水」、2001 年香港漢雅軒「清奇古怪」、臺中靜宜大學「慾望山水之海上風華」等重要的大型展覽。2004 年，于彭因為肝病爆發，身體日趨衰弱，十年之後辭世。因此，吳超然對於于彭創作的分期，是在充分考慮其創作發展的前提下，以生命史中的重大事件進行分期，即以 1981 年壯遊中國為「早期」之始，1997 年旅居上海為「中期」之始，2004 年肝病爆發為「晚期」之始。
If the 1981 trips to Greece and China planted the seeds for his shift in creative language in 1985, then the journey to Shanghai in 1997 can be seen as the catalyst for his creative peak around 2000. The period around 2000 was indeed the zenith of Yu Peng's creativity, marked by significant exhibitions such as "A Modern Odyssey: New Works by Yu Peng" at Kaikodo in New York in 1998, " Landscape of Desire" at Lin & Keng Gallery in Taipei in 1999, "Pure, Exotic, Archaic and Strange: New Paintings by YU Peng" at Hanart TZ Gallery in Hong Kong in 2001, and "Landscapes of Desire: Sea Vistas" at Providence University in Taichung in 2001. In 2004, Yu Peng's health began to deteriorate due to liver disease, and he passed away ten years later. Thus, Wu Chao-Jen's periodization of Yu Peng's work takes into account his creative development, segmenting his career based on major life events: the journey to China in 1981 marking the start of his early period, the residence in Shanghai in 1997 marking the start of his middle period, and the onset of liver disease in 2004 marking the start of his late period.
在「于彭：行者．天上．人間」展覽中，此一分期方式，也影響了展間的規劃方式，但是在八個展間中，「早期素描、粉彩、油畫」、「早期（1980-1997）水墨」、「晚期（2005-2014）水墨」、「晚期素描、粉彩、油畫」分別成為了其中四個展間的標題，卻不見有名為「中期」的展間，取而代之的是中期創作的「大型水墨連作」。從一個回顧展的角度而言，于彭中期最重要的作品，確實是這些大型連作。但是，所謂的「于彭中期」，如果不直接等於「大型水墨連作」，那麽在這些「大型水墨連作」之外，又會是一幅什麼樣的面貌？本次展覽的主題，即肇始於此一提問。
In the "A Wanderer between Heaven and Earth: Yu Peng and His Life Work" exhibition, this periodization influenced the layout of the exhibition spaces. Among the eight rooms, the titles included "Early Period Sketches, Pastels, and Oils," "Early Period(1980-1997) Ink Works," "Late Period (2005-2014) Ink Works," and "Late Period Sketches, Pastels, and Oils." However, there was no room specifically titled "Middle Period." Instead, the works from the middle period were represented by "Large-Scale Ink Series." From the perspective of a retrospective exhibition, these large-scale ink series are indeed Yu Peng's most important works from the middle period. Yet, if the"Middle Period" of Yu Peng's career is not synonymous with these large-scale ink series, what other characteristics define this period? The theme of this exhibition arises from this question.
然而，何謂「中期」？「分期」的概念最早或非見於史學，而是始於神學。為了解釋人類生存的負面狀態，從古希臘神話和基督教典籍中，我們看到的是以「衰落」為趨勢的歷史分期。然而，啟蒙以降，我們卻創造了以「進步」為趨勢的歷史分期。此外，亞里斯多德（Aristotle）亦曾通過生命力在有機體中的週期性消長，提出「盛極而衰」的趨勢。於是，我們知道，「分期」並不只是對「歷史時期」的劃分，而實在是「歷史思維」的展現，也即思考不同時期間之劃分，究竟試圖勾勒出什麼樣的價值走向？是「逐漸遞降」、「逐漸遞升」，還是「盛極而衰」？
However, what exactly is the "middle period"? The concept of "periodization" did not originate in historiography but in theology. To explain the negative state of human existence, ancient Greek mythology and Christian scriptures depict history as following a trend of "decline." Conversely, since the Enlightenment, we have created historical periodizations that follow a trend of "progress." Additionally, Aristotle proposed the concept of "wane after fullness" through the cyclical growth and decline of vitality in organisms. Thus, we understand that "periodization" is not merely about dividing historical periods but is truly an expression of "historical thinking." It raises the question of what value trajectory the division of different periods attempts to outline: "gradual decline," "gradual progress," or "wane after fullness" ?
以為價值在歷史分期中「逐漸遞降」者，乃以「早期」為尚；以其為「盛極而衰」者，乃以「中期」為尚；以其為「逐漸遞升」者，乃以「晚期」為尚。以「早期」為尚者，偏好的是尚未被污染的純真性，或尚未被完全開展的可能性；以「中期」為尚者，偏好的是臻於頂峰的完美性；以「晚期」為尚者，偏好的是被辯證地徹底開展的全面性。今日，出於對「進步意識」的著迷，我們的時代價值，仍是以「晚期」為尚。因此，所謂的「中期」，經常被抽象地想像為某種「過渡狀態」。
Those who perceive a gradual decline in value throughout historical periodstend to idealize the "early period," valuing its untainted purity or unrealized potential. Those who view history as following a pattern of "rise and fall" often favor the "middle period," appreciating its attainment of perfection. On the other hand, those who believe in a gradual progress in value tend to favor the "late period," valuing its thorough and dialectical development. Today, driven by a fascination with the idea of progress, our contemporary values still prioritize the "late period." Therefore, the concept of the "middle period" is often abstractly imagined as a transitional state.
問題是，我們似乎很難接受，于彭創作生涯的「中期」，只被視為某種「過渡狀態」。因為，「中期」可能是于彭創作生涯中最難被忽視的一段時期：狹長的構圖，巨大的尺幅，綿密的線條，滿幅的畫面，在在讓人驚艷不已。因此，于彭創作生涯中最精彩的階段，究竟是「中期」還是「晚期」，一直是其畫作愛好者最津津樂道的話題。于彭從返台後到發病前，精力絕倫地創作出巨大尺幅的系列作品，是其創造力的巔峰？還是發病後尺幅趨小、畫面空疏、線條老辣的「人書俱老」之作更好？其中不只涉及「歷史思維」的問題，也涉及「藝術品味」的問題。然而，這樣的提問方式，是否有其限制？首先必須釐清的是，所謂「于彭中期」，具體面貌為何？若欲對此問題進行答覆，或許既需考量與生命史相錯的風格史，也需放眼於「大型水墨連作」以外的其它畫作。
The problem is, it seems challenging to accept Yu Peng's "middle period" as merely a transitional state . This is because the "middle period" may actually be the most difficult period to overlook: with its elongated compositions, vast dimensions, intricate lines, and full-scale images. Therefore, whether the most splendid stage in Yu Peng's artistic career lies in the "middle period" or the "late period" has always been a topic of fervent discussion among enthusiasts of his artwork. Is Yu Peng's peak creativity manifested in the series of large-scale works created after his return to Taiwan before the onset of his illness? Or are his later works, characterized by smaller dimensions, sparse compositions, and more mature lines, exemplified by the phrase "both the person and the calligraphy are mature," superior? This question not only involves issues of "historical thinking" but also touches upon matters of "artistic taste." However, does this questioning approach have its limitations? Firstly, it is essential to clarify what exactly constitutes the "middle period" of Yu Peng's career. To answer this question, one might need to consider not only the stylistic history that intersects with his life history but also look beyond the "large-scale ink series" to other artworks.
前文嘗言，若將于彭的創作生涯，作一整體而論，那麼將素描的基礎、山水的遊歷、水墨的傳統，三者終於冶於一爐，同時旅居上海的1997 年，定為早期與中期的分界，確實的當。然而，若從畫面觀之，1989-1992 年間，于彭有意識地向古典學習的作品，如〈仿王蒙筆意山水〉（1991）、〈石濤上人山水筆墨〉（1992），無論緊湊綿密的線條，抑或排砌有致的山石，其與 1997 年後的作品，如〈慾望山水之山水篇／萬壑松風系列〉（2000）、〈魂遊象外〉（2002-2003），實是一脈相承。
As mentioned earlier, if we consider Yu Peng's artistic career as a whole, the integration of the foundation of sketching, the experience of landscape exploration, and the tradition of ink painting indeed culminates with his residence in Shanghai in 1997, marking the boundary between the early and middle periods, which is indeed appropriate. However, from a visual perspective, the conscious study of classical techniques by Yu Peng between 1989 and 1992, evident in works like "Emulating Wang Meng's Brushwork Landscape" (1991) and "Shitao's Landscape Ink" (1992), with their tightly knit lines and well-arranged rocks, is in continuity with his later works after 1997, such as " Landscape of Desire: Landscape / Wanhe Songfeng Series" (2000) and "Trance" (2002-2003).
易言之，若就主題而論，中期與晚期確實更為接近。但就筆墨而論，中期與晚期卻有很大不同。我們固然可以將其歸咎於健康因素，但這並不是一個就藝術而言得以自洽的理由。因為，藝術家儘管因為健康因素，而不得不放棄某種畫法，但在其它可能畫法之中，何以擇定其中一種，此中還是涉及藝術判斷。因此，所謂「于彭中期」的筆墨，其實始於 1989-1992年的學習古典之作，或許還延伸到肝病爆發之後，例如〈靜虛還神〉（2008）。所以，倘若從生命史觀之，「于彭中期」或可界定在 1998-2004 年；但是若從筆墨趣味觀之，其上限與下限或許還需略加放寬。
In summary, in terms of themes, the middle and late periods are indeed closer. However, in terms of brushwork, there are significant differences between the middle and late periods. While we can attribute this to health factors, it is not a consistent reason in the context of art. Although an artist may have to abandon a certain painting technique due to health reasons, the choice of another technique still involves artistic judgment. Therefore, the brushwork of the so-called "Yu Peng middle period" actually began with the study of classical works between 1989 and 1992 and perhaps even extended beyond the onset of his liver disease, as seen in works like "Meditation Within the Void" (2008). Thus, if viewed from a life history perspective, the "Yu Peng middle period" could be defined as between 1998 and 2004. However, from the perspective of brushwork, both the upper and lower limits might need to be slightly expanded.
此外，倘若我們願意將于彭的患病，也想像為某種「遊」，那麼于彭的生命史，或許皆可以「遊」分期：即 1981 年壯遊中國三個月，1997 年旅居上海三年，以及 2004 年患病後大遊於世的心境。然而，真正對于彭創作造成莫大影響者，或許並不只是「遊」，還需有所「居」。我們可以在于彭生命中的三次「大遊」之間，找到兩次「小居」。第一次「小居」，是在第一次「大遊」之後，於 1985 年決定「居於水墨」，及 1989 年學習「居於傳統」。第二次「小居」則是在第二次「大遊」之後，於 2000 年回台定居於自宅「桂蔭廬」，並流連於永康街。
Furthermore, if we are willing to consider Yu Peng's illness as a form of "journey," then perhaps his life history can also be divided into "journeys," namely, the three-month adventurous trip to China in 1981, the three-year residence in Shanghai starting in 1997, and the profound mental journey after falling ill in 2004. However, what truly had a significant impact on Yu Peng's artwork might not only be the "journeys" but also the periods of "residence." We can find two instances of "small residence" between Yu Peng's three "grand journeys" in life. The first "small residence" occurred after the first grand journey, when in 1985, he decided to "reside in ink painting," and in 1989, he embarked on the study of "residing in tradition." The second "small residence" occurred after the second grand journey, when in 2000 he settled back in Taiwan at his residence "Gui Yin Lu" and spent time in Yongkang Street.
于彭過世一週年時，家人朋友曾在「紫藤廬」為其舉辦「雲根未斷落凡來—再見于彭」展覽與座談，展名來自于彭畫作〈雲根未斷落凡來引起一陣風騷—病中自畫像〉的畫中自題之句。因此，我們或許可以將所謂的「于彭中期」，想像為其在藝術中「小居」於傳統，在生命中「小居」於「桂蔭廬」，並逐步走向藝術與生命之「大遊」的途徑。為此，本展覽特別鎖定前述于彭創作生涯中第二次「大遊」與「小居」之際，即 1997-2002年間，精選形式多元的數件大小尺幅作品，涵蓋摺扇、冊頁與掛軸，並以「結廬開徑近雲根」為題，期使觀者循此展題與展覽中之諸畫作，略窺于彭中期藝術的多元面貌。
On the first anniversary of Yu Peng's passing, family and friends organized the "Yu Peng Solo Exhibition" and discussion at Wistaria Tea House. The Chinese title of the exhibition was inspired by a line from Yu Peng's painting, "Cloud Roots Unsevered and Causing A Stir on Earth – A Self-Portrait Amid Illness." Therefore, we might envision the so-called "Yu Peng's Middle Period" as a period where he engaged in a "small residence" within the tradition in his art and "small residence" within "Gui Yin Lu," gradually transitioning towards the "grand journey" of art and life. To this end, the exhibition focused specifically on the second "grand journey" and "small residence" in Yu Peng's artistic career, covering the period from 1997 to 2002. It showcased a diverse selection of works in various formats, including folding fans, albums, and hanging scrolls, under the theme "Opening a Path Near the Cloud Roots Cottage," aiming to provide viewers with a glimpse of the diverse facets of Yu Peng's art during his middle period.
編註：此文撰於 2025巴塞爾藝術展香港展會前，實際展出時因應作品調整，聚焦作品年份跨度略為放寬至1997-2007年間。
Editor’s Note: This essay was written prior to Art Basel Hong Kong 2025. In response to curatorial adjustments, the actual selection of works slightly extends the focus period to encompass the years 1997–2007.
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