Two Generations

In this section are examples of Peng Xiancheng’s iconic portraits of horses and slightly rotund Tang dynasty women, donning the characteristic hairdos of that era, along with still-lifes of birds, flowers and insects, and a selection of landscapes. These works include The Hunt No. 5 (1999–2015), a representative painting depicting galloping horses and riders in a lively hunting scene created using the elder artist’s unique freehand and spontaneous brushwork. Large, gnarled trees, executed with powerful brushstrokes in dark ink, frame this unusual composition, conveying dynamism and movement. Another work that stands out is Horses and Bather (1997–2015), which hangs on the adjacent wall. In this impressionistic scene, three horses saunter through a verdant forest, led by a nude female figure. The saturated washes and interplay of dry and wet brushwork create a strong sense of depth and texture. Peng’s range of styles demonstrates his versatility and desire to experiment while remaining rooted in, and inspired by, ink-painting tradition.  

Occupying the right side of the gallery are the works of Peng Wei. The main feature of this section is a set of ten paintings, in the format of albums and hanging scrolls, from of her recent series “Letters from a Distance” (2014–15). Each painting is laid out on a tray that hangs from the ceiling, imbuing the space with an ethereal quality, reflective of the exquisite works themselves. These paintings reveal an even more lyrical and expressive style compared to that of her earlier series, “Embroidered Shoes” (2003–06) and “Brocade Robes” (2003–12). In the new series, painted in her signature delicate brushwork, Peng reinterprets the traditional landscape by complementing each work with calligraphic inscriptions, translated from letters and poems written by European authors and artists, encouraging the viewer to engage in a dialogue that transcends culture and time. In the exhibition catalogue, she states: “Paintings and inscriptions are part of an interesting conversational game between scholars and subsequent generations.” In a novel twist, Peng Wei surrounds her landscapes with her own painted brocades, adorned in a variety of auspicious and whimsical patterns, demonstrating her creative spirit and sensitivity to detail. Through these innovations, she offers a new interpretation of the Chinese landscape painting.

Created specifically for the exhibition and as a tribute to the close relationship with her father, in the series “Father and Daughter” and “Dearest, Faithfully Yours” (both 2015) Peng Wei pairs painted works with excerpts from letters by Wolfgang Amadeus Mozart to his father and wife. The letters inscribed on the works reveal the deep and intimate connections between father and child, husband and wife. In “Father and Daughter,” Peng Wei portrays scenes of an older gentleman with a young apprentice—such as painting or traveling together—alluding to her own poignant childhood memories with her father.

Hanging towards the back of the gallery is the “Dear Father” series, Peng Wei’s depictions of scholars’ rocks, which were objects of meditation collected by the Chinese literati during the early Song dynasty. For her, the process of painting a rock is not only a test of technique and skill, but also a means to transmit one’s character. She likens the tall rocks depicted in this series to the character of the Song dynasty literati and her father—resilient, independent and authentic. Nearby hang her earlier installation works, consisting of moulded female busts made of paper with various vignettes painted on them, including the Southeast Asian-influenced scene in Sultan of Brunei Wedding (2010). 

The Sotheby’s exhibition successfully celebrates the distinct artistic accomplishments of both Peng Xiancheng and Peng Wei. While the viewer can appreciate the loving relationship between father and daughter, the exhibition is even more so an opportunity to observe the power and versatility of the Chinese ink-painting tradition through the works of two artists from different generations. In a culture where the preference for sons stretches back for centuries, it is all the more remarkable to see Peng Wei so passionately continuing her father’s artistic legacy.

“Two Generations” is on view at Sotheby’s Hong Kong Gallery until October 29, 2015.