Pang Tseng Ying

The Middletown (Conn.) Press,
Friday Evening! September 21, 1984

Art: Work by Tseng-Ying
By FLORENCE BERKMAN

Tseng-Ying Pang’s paintings prove wrong Rudyard Kipling’s conviction that “East is East and West is West and ne’er the twain shall meet.”

A collection of his watercolors now on view at the New England Center for Contemporary Art in Brooklyn, brings together the basic techniques of Chinese art, its poetic interpretations of nature and the freedom of 20th century abstract-expressionism.

Recently an editor of ARTS Magazine wrote: “Pang brings his own version of Abstract-Expressionism. His mood is predominantly poetic and leads to philosophical meditation. It expresses grace, strength, elegance, abruptness, and freshness as the occasion may require. Through these qualities, that all nations can understand and admire, he has made a splendid contribution toward the internationalization of art while retaining rich values that are national and personal.”

The interesting point about the effect of abstract-expressionism on Pang’s art, is that the American abstract-expressionists were strongly influenced by Chinese art. The thing has come full circle in Pang’s work.

These are ingratiating works on view. They invite the imagination to wander and there is a tranquility, a oneness with nature that provides the viewer with a peace that has been absent in American art indeed since the advent of abstract-expressionism.

Strangely, there was no peace in the heart of this artist when he created many of the works. I noticed he had placed tiny human figures in the folds of color and form. In an interview, I asked Pang what these meant. Putting his hand over his heart, he explained that they represented the most tragic period of his life: World War II, when Japan invaded China and he and his family had to leave their homes and wander in the mountains begging food and money to live.

Pang said he could not get that period with its travails out of his mind. For a number of years he painted scenes that recalled the days of wandering for his family and for so many Chinese. Often the people from whom they begged received them with kindness; other times there was only cruelty.

Pang was born in [1916] to a Chinese artist in Japan, and at an early age showed great talent. He returned to China, however, to study the various forms of Chinese art.

After graduating from the College of Art in Peking, he was awarded a scholarship to study art at Nippen University in Tokyo where he received his master’s degree. Art scholars there were impressed with his visionary powers which were influenced by the traditional Asiatic art and Western techniques. This soon established him as an important contemporary watercolorist. Later he moved to Taiwan, where, in 1965 he received the President Chiang Kai-Shek Award and a grant from the Asia Foundation which brought him to the U.S.

During the 1930s Pang became aware of Western art. “For me Cezanne, Van Gogh and Gauguin were most inspirational,” he said. Predominantly a landscapist, he brought both cultures together in the complexity of floating forms, abstract shapes, amorphous at first, which on closer examination turn out to be “misty slopes and budding trees.”

For many years Pang emphasized the Western influence, he said. “Now I am going back to my roots – the Oriental approach to nature and to the world.” Art critics have marvelled at Pang’s “genuine visionary power” and predicted that “for many collectors Pang-watching is bound to become a fascinating pursuit.” Since his arrival in America he has had over fifty exhibitions – one-man shows and in group shows and has been the recipient of many awards. Viewing an exhibition in the openness of the countryside at the New England Center for Contemporary Art adds a pleasurable note to the occasion. Located on Route 169 it is about 50 miles from central Connecticut.

Admission is free, hours are daily and Sunday from 1 to 5 p.m.