返回Peng Feng

Peng Feng

Doctor of Aesthetics. Professor at the School of Arts of Peking University. Doctoral Advisor. Vice Dean of the School of Arts of Peking University. Vice Chairman of the Research Centre for Aesthetics and Aesthetic Education of Peking University, a key research institute of Humanities and Social Sciences approved by the Ministry of Education. Secretary General of the Advisory Committee on the Teaching of the Theory of Art in China under the Ministry of Education. Standing Council Member of the Chinese Society for Aesthetics. Executive Committee Member of the International Association of Aesthetics. Representative for China of the International Association of Aesthetics. Member of the Exhibit Design Committee of China Artists Association. Fields of research, teaching and practice cover aesthetics, art theory, art criticism, exhibition planning, and playwriting.

Published thirteen monographs,including Crossover Collaboration:Adventure of Aesthetics in the World of Art, published by Beijing Normal University Publishing Group in 2015,the Volume 8 of the History of Chinese Aesthetics published by the Jiangsu People's Publishing House in 2014,Programme: Pavilion of the P.R. of China at the Biennale Arte 2011 by People's Fine Arts Publishing House in 2012, An Introduction to Aesthetics by Fudan University Press in 2011,and Return of Beauty: 11 Issues of Contemporary Aesthetics by Peking University Press in 2009. Seven published academic translations, including Languages of Art by Peking University Press in 2013, the Blackwell Guide to Aesthetics by Nanjing University Press in 2008, and Pragmatist Aesthetics by Commercial Press in 2002. Published over 200 Chinese and English academic papers in various domestic and international academic journals, including Philosophical Researches, Literature and Art Studies, Journal of Peking University, Philosophy East and West, Filozofski vestnik, International Yearbook of Aesthetics, and Journal of Comparative Literature and Aesthetics,covering disciplines such as philosophy, aesthetics,theory of art,and art criticism.

lanned over 200 large-scale international art exhibitions,including Pervasion:the China Pavilion of the 54th International Art Exhibition of the Venice Biennale in Venice Italy 2011,Encounters New Art on the Silk Road;the 1st Xinjiang International Art Biennale in Urumqi 2014,Enlightenment:the 1st Datong International Sculpture Biennale in 2011,Jet Lag Sino-German Multimedia Contemporary Art Exhibition in Hannover 2012,the Traveling Exhibition of Contemporary Art of China in 2015 covering Beijing,and St.Pittsburgh.

Wrote more than 200 articles of art criticism.Also worked as a playwright.

The stage play Prophecy was on People's Art Experimental Theatre in 2007.The musical Red Lantern had been staged in Tianqiao Theater,the Poly Cinema of Zhengzhou,The centennial hall of Peking University,and the Rulun Lecture Hall of Renmin University in 2013.

His interdisciplinary studies have attracted wide attention among international academic societies.His interview was published in the July issue of Art in America in 2013,an acclaimed art magazine in the English world.

Representative works

Crossover Collaboration: Adventure

of Aesthetics in the World of Art

Beijing Normal University Publishing Group，2015

the Volume 8 of the History of Chinese Aesthetics

Jiangsu People's Publishing House，2014

Programme: Pavilion of the P.R. of China

at the Biennale Arte 2011

People's Fine Arts Publishing House，2012

Introduction to Aesthetics

Fudan University Press，2011

Return of Beauty: 11 Issues

of Contemporary Aesthetics

Peking University Press，2009

Curating works

Pervasion:the China Pavilion of the 54th

International Art Exhibition of the Venice Biennale

Venice Italy，2010

Artists involved: Cai Zhisong, Liang Yuanwei, Pan Gongkai, Yang Maoyuan, Yuan Gong

Curating ideology:

Unlike western aesthetics which uses light to define beauty, Chinese aesthetics uses taste to define beauty. “Fat sheep is always yummy” is a basic ideology used by Chinese aesthetics to define the beauty. Actually, the taste used by Chinese aesthetics is just the extension of light used by western aesthetics.

“Five tastes” is a form of “five elements”. “Five tastes” means both the basic taste and the whole taste, which is a unification of universality and diversity.

The five artists created artworks by five different themes -- fragrance, wine, medicine, tea and lotus, forming an amazing world. Audiences will have their sense organs activated. That is their sense of hearing, sense of listening, sense of smelling, sense of taste and sense of touch will work together to provide audiences with a unique experience.

I sincerely hope that the Chinese style will become an unforgettable memory for Venice people so that the distance between Venice people and Chinese culture can be shortened.

the Traveling Exhibition of Contemporary Art of China

covering Beijing, and St. Pittsburgh， 2015

Artists involved: Cai Jing, Ding Fang, Fan Bo, Feng Fang, Gu Liming, He Datian, Huang Yan, Shi Jin, Liu Gang, Liu Jun, Luo Mingjun, Mou Boyan, Ma Lu, Meng Luding, Peng Hui, Peng Si, Shi Lan, Sun Lijun, Su Xinping, Tan Ping, Tian Xiaolei, Wang Honghai, Wang Huaxiang, Wang Rui, Wang Yigang, Xie Xiaoze, Zhang Fangbai, Zou Xiaozhen

Academic support: Chen Xiaoxin, Fan Di’an, Jia Fangzhou, Peng Feng, Yin Shuangxi, Yang Wei, Zhang Xiaoling, Zhang Zikang

Organizers: BFA (Beijing Film Academy) Contemporary Art Research Institute (prepare), Peking University Aesthetics and Aesthetic Education Research Center, Astley Gallery, Galleri Astley Museum and Socang Gallery.

Curating ideology:

“Wind (Feng in Chinese)” is a unique concept in Chinese culture, which does not only mean the natural phenomenon but also the moral quality and aesthetic characteristic. In the Book of Songs, national styles of 15 countries include not only the moral culture but also the aesthetic culture. This is also the reason why people consider The Book of Songs as a literature but not a textbook for morality. After Han and Wei Dynasty, the aesthetic culture existed in “wind” began to get more and more outstanding. In other phrases, “Feng Shen” (a wind god), “Feng Yun” (charm), “Feng Liu” (romantic), “Feng Gu” (strength of character) and “Feng Cai” (style) etc, “Feng” is a kind of aesthetic characteristics, which is different from elegance and nobleness. In western aesthetics, it seems impossible to find something able to have the same scope of “Feng”.

With the rapid development of transportation and communication technology, cultural difference is becoming fewer and fewer, or even there is a unification of different cultures. At early Qin Dynasty, we know that there were different styles of 15 countries. However, as time goes by, they unified and finally formed Chinese style. Especially compared with foreign cultures, Chinese style is quite outstanding. However, at the time when China experienced the modern transformation, western style overpowers Chinese style or even, westernization and western learning became popular. Luckily, at the time when modernized tasks of China were almost finished, Chinese people’s consciousness in cultural identification was strengthened. Or we can say that Chinese people began to find their own cultural traditions. After the time when Chinese people were mad about western art form and social critics, more and more artists began to pay attention to the contemporary transformation of traditional culture. The artists tried to find a link between modern life and traditional culture. For Chinese artists, Chinese style is a kind of critical reflection and reconstruction of their own traditions. That is Chinese style is not a style full of foreign characteristics, and not pander to the beauty-appreciation habits of others.

Artists in this exhibition will use different methods to work out the relationship with Chinese traditional culture by drawing, sculpture and images etc. By their artworks, we can see that some features of Chinese style are so popular, as well as a trend of China’s contemporary art mainstream that social criticism is being replaced by cultural restructure.

Red Lantern，2013

Scriptwriter

Reedited by Wives and Concubines by Su Tong

Introduction:

In early autumn of a year of the Republic of China, Chen Zuo, a rich man in Jiangnan, married a fourth wife, Song Lian. In order to get the love from Chen Zuo, the four wives began to strife openly and secretly. Song Lian lost the strife and she took the risk of her own life to show her love to Fei Pu, the first son of Chen Zuo. But Fei Pu was a gay. Mei Shan, who had an affair with a doctor, was found when she had sex with the doctor. Then, Mei Shan was punished by throwing into a well, dead. Song Lian was so scared by Mei Shan’s thing, finally, she got mad. The four wives all had different sad life, which reflected the tragedy of that time; people who did real things and told the truth died, people who were fool would get mad at last, people who faked what he did or what he said would survive, people who did nothing and said nothing would lead a long life. The tragedy was not ended though Mei Shan died. The next spring, Chen Zuo married his fifth wife......