躍一時的年輕畫家 。走過黑暗、狹窄的木梯，來到三樓的畫室，她
through photography, printing and sensitive media combinations. The
形容說：「這百餘坪的空間，和自囚的『牢房』沒有兩樣；簡陋而
pigments dissolve in his emotions and the forms transcend reality. ”
老舊的家具，和一批批有待完成的畫作 。一個星期七天，楊識宏有 五天時間待在這裡，周末才回到郊外家裡，和妻兒相聚 。 36 」
面對著楊識宏畫室中的作品，陳長華用感性的筆觸寫道：「他的畫 無聲的展現人類生死和都市人的苦悶，糾纏的現代生活理念，經由
On the surface, an artist who once described himself as a“belonging to urban civilization”left the city of Taipei for the even bigger metropolis of New York. In fact, as an Eastern artist in a Western social environment, Yang initially found it very difficult to become part of the local art world. As a result, what he originally considered to be his“relatively flimsy ”
攝影、印刷和一些敏感的媒介組合 。顏料在他情感裡溶化，形體超
background in“ancient Chinese culture ”gradually began to assert
越現實 。 37 」
itself through his isolated and long-term creative thinking. After a transitional period of trial and error from 1979 to 1980, this style became
這個曾經自稱是「屬於都市文明的藝術家」，表面上是離開台北這個
more prominent in about 1981 when Yang entered a new creative phase
都市，前往另一個更大的都市－紐約；實際上，以一個東方畫家的
tentatively called his“Neo-Expressionist ”period.
身份，在那樣一個屬於西方社會的環境裡，一開始是很難找到切入、 參與的管道 。反而是那個原本被他自認「相當稀薄」的「中國古老 文化」，開始在他孤獨而長期的創作思考中，逐漸呈現 。經歷 1979 至 80 年的一段摸索、過渡期後，到了 1981 年前後，風格開始趨於 明顯，也進入創作的一個新階段，可稱為「新表現主義」時期 。
“Landscape with Gate ”(1981) is often mentioned as one of Yang’ s best works in this period. In this painting, the earlier images of people in social scenarios disappeared, replaced by images and lines often seen in ancient Chinese prints or incised golden outlined Chinese landscapes on wooden screens, juxtaposed with minimalist colors. In the middle is a gate that resembles the Arc de Triomphe and at the side a geometric
1981 年的《有門的風景》，是這個時期常被提及的一件代表作品 。
staircase. This gate is in fact the Washington Square Arch, which Yang
那些在社會浮光中流動的人影已然不見，取代的是一種猶如中國古
Chihung passed every day as he walked to art galleries in the city from
代版畫，或剔刻金彩山水屏風常見的圖形與線條，和一種接近低限
his studio on 17th Street. He deliberately painted the gate narrower
的色面並置，中間擺置著一座凱旋門的造型，旁邊則還有一個幾何
than in real life as an allusion to his own experience that one can only
樣式的階梯 。這座凱旋門，其實是華盛頓廣場上仿巴黎凱旋門而建
gain access to the modern art world of New York by passing through the
的一個地標，楊識宏每天要從居住的 17 街，穿過這個凱旋門，前 往畫廊聚集的地方；楊識宏刻意把這個門的入口畫得特別狹窄，意 味著要穿這個窄門，才能進入紐約的現代藝壇 。而右方的階梯，也 意味著藝術家必須一步一腳印，拾級而上，才能進入西方的藝壇 。 畫面一分為二，右方的大塊色面代表西方的世界，左邊的山水則是
confines of this gateway. The stairs at the right of the painting signify that the artist can only enter the world of Western painting by ascending one step at a time. This work is divided into two distinct sections, the colored right part representing the West, while the landscape on the left of the work symbolizes the East. However, this is a representation of cultural realms not a natural division.
東方的世界；這不是自然的分野，而是文化的界域 。 As a painter, Yang has always focused first and foremost on“people, ”
這個始終以「人」為思考軸心的畫家，來到西方這樣一個社會中，
but on arriving in Western society he discovered that people in different
似乎發現：並非一種天下皆同的生物，以往從文字上讀到有關藝術、
places are different. The various theories and analyses of art, philosophy
哲學、心理學的種種理論或分析，也只不過是西方思維下的一些片 面而已；文化的異同，似乎更是人之為人，真正深層而核心的問題 。 什麼是美？什麼是醜？何者為是？何者為非？顯然也都因文化的不 同，而有不同的思考與面對 。
and psychology he had read were merely one perspective of Western thinking. It now seemed to Yang that cultural differences were more important in defining people and a core issue in their own right. What is beautiful or ugly? What is right and wrong? It was now clear to the artist that people considered and faced such things differently depending on their cultural background.
知名畫家兼文字評述者陳英德稱美《有門的風景》是：「中式山水 與西式色面的空無形成對照 。 38 」
Renowned painter and reviewer Chen Ying-teh described the beauty of“Landscape with Gate ”thus:“The Chinese style landscape and the
而評論家江衍疇則進一步的分析這件作品中的圖像語彙，指出：
emptiness of the Western colors create a contrast. ”
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