New York Times
July, 1997
《紐約時報》週末藝術評論專欄：
來自臺灣：一種更傾向亞洲美學、而非西方形式的融合
— Holland Cotter 1997. 7. 4
中國古典山水畫傳統——去年於紐約大都會藝術博物館（Metropolitan Museum of Art）舉辦的「帝國中國的瑰寶：臺北國立故宮博物院珍藏展」（Splendors of Imperial China: Treasures From the National Palace Museum, Taipei）中，曾令人印象深刻地展現——同樣這也是于彭紙本水墨掛軸作品的靈感來源，以及他所對抗與回應的對象。這組作品總題為《月照荒城雲掩古木》（1996–1997）。
于彭的縱向構圖承襲了中國山水畫歷久不衰的經典形式：觀者的視線自畫面底部出發，沿著蜿蜒曲折的路徑穿越林木掩映的丘壑，最終抵達畫面頂端的高山。然而，藝術家卻在這一古典秩序之中加入了不循常規的轉折。他將這一象徵自然秩序的中國經典圖式，密密鑲嵌進現代臺灣生活中充滿活力而近乎混沌的元素：裸體與著衣人物、陳設繁複的室內空間，以及備妥茶席的桌案等景象，皆以一種刻意帶有鋒芒感的仿天真筆法呈現。
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July 4, 1997, Friday
The New York Times
WEEKEND DESK
From Taiwan, a Blend More Asian Than Western
By HOLLAND COTTER
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.
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