{"secondaryobjectnumber":"","periodterms":[{"id":2033651,"period":"modern Chinese styles and periods"}],"creditline":"Museum purchase, Fowler McCormick, Class of 1921, Fund","caption":"Peng Wei 彭薇 (born 1974, Chengdu, China; active Beijing), Autumn of Tang Dynasty (Tang ren qiu se 唐人秋色), 2008. Ink and color on hemp paper; 70 × 39 × 22 cm. 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\n\t自2007年开始，我用层层宣纸裱糊残破的模特，待其晒干，在身体上绘制经典传统图像。在我眼里，残破的模特如现代维纳斯；层层裱糊的过程，如“作茧自缚”；从模特上揭下躯壳的过程又像“金蝉脱壳”。作于2008年的《唐人秋色》即是这一时期的代表。我在女性的后背挪用赵雍的《挟弹游骑图》，画面中男子的凝望与女性身体的并置很好玩，暗含着女性与男性的双向凝视。\n

\n

\n\t
\n\tSince 2007, I’ve been using layers of rice paper to create partial mannequins, then after they dry, I paint classical images on their bodies. The partial figures, missing limbs, and heads resemble modern Venuses, and the\n\tlayering process is like creating a spun cocoon. The act of peeling the paper off the model is akin to shedding one’s skin. Autumn of Tang Dynasty exemplifies my work from this period. On a female figure’s back, I appropriated a painting by Zhao Yong (1289–ca. 1360)—Carrying a Catapult while on Horseback [now in the collection of the Palace Museum, Beijing], creating an amusing apposition between the male gaze and the woman’s body, hinting at man and woman’s mutual contemplation.\n\t
\n\t

 Peng Wei, artist\n

","remarks":"ASIA2_15_CLA Day 1 Cataloguing"}],"datebegin":2008,"sortnumber":"2021 111","published_date":"2026-06-23 02:03:53.156812","objectid":138234,"dimensions":"70 × 39 × 22 cm (27 9/16 × 15 3/8 × 8 11/16 in.)","on_view":false}