LIM TZE PENG

BLACK AND WHITE

LIm TZE PENG

BLACK AND WHITE

FOREWORD by Jazz Chong

It is a great pleasure to host
the second solo exhibition
for Lim Tze Pengs at Ode
to Art. Mr. Lim is one of
Singapores most respected
pioneering artist who is also an
award winner of the Cultural
Medallion in 2003. With
many solo exhibitions held at
prestigious museums around
the world; Beijing Art Museum
and Liu Haisu Art Museum in
Shanghai and Singapore Art
museum, his works have gained
international recognition with
many collections ranging from
the Housing Development
Board Singapore, Singapore
Prime Ministers Office.
Singapore Airline and
Singapore Art Museum.
Lim Tze Peng mentioned to
me in 2011 that he wanted
to do something different
where he could present his
new series of black and white
works. When he first showed
me the completed series of ink
paintings, I was amazed by
the intricate and meticulous
details in his paintings. Every
one of his pieces exuberate such
great energy, connecting with
the viewers as the figures in
the paintings come to life and
the subjects matter so well.
He is best known for the
significant number of Chinese
ink drawings and paintings of
Chinatown and the Singapore
River which he produced
during the early 1980s when

LIm TZE PENG

urban redevelopment focused

on these two areas. A sense of
longing for peaceful days and
their charm is conveyed by
the combination of traditional
Chinese ink and gentle,
diffused shades of brown which
may often remind us of a faded
sepia photograph upon first
glance at this painting. At
the same time, his works are
depicted through the ferocious
and lively brushworks with an
additional subtle colour wash.
Mr. Lims works challenge
the aesthetic conventions and
presents contradictions that can
somehow become brilliantly
reconciled. We can observe
this in his calligraphy series
where the dynamism of the
brushstrokes paradoxically
elicits awe and admiration.
Like what Confucius said

(It is delightful to have friends

from around the world to
join us), I am most pleased
to present you the works of
Lim Tze Pengs latest works as
part of his Black and White
series and hope you will enjoy
his art as immensely as I do.
I would like to thank Lim
Tze Peng for his continuous
support for the gallery and
I and on top of that, the
valuable lessons he has shared
with me over the past years.

Jazz Chong
director, ode to art

BLACK AND WHITE

LIm TZE PENG

BLACK AND WHITE

Tze Peng in black and white

by Bridget Tracy Tan

When asked which were the

most beautiful colours, he
said black and white because
one (black) gives force by
deepening the shadows and
the other, (white) relief.
Carlo Ridolfi on the
master Venetian painter,
Tinteretto, 1594 16581
Around the tenth century,
artists began to develop systems
of repeated brushstrokes that
render texture and tactile surfaces.
In landscape painting, the cun
(literally, wrinkles) or texture
strokes, define geologically the
various rocky and earthy masses
fine strokes are patiently applied
to differentiate (detail) Uneven
applications of such strokes also
serve as a kind of shading to give
an effect of convexity to forms.
James Cahill, Approaches to
Chinese painting Part II2
The pillars of Chinese art have
always been painting, calligraphy,
poetry and seal carving: four
practices that have together
developed the skills of any literati
painting to produce some of the
more sophisticated examples of
fine Chinese art. Practice aside,
scholarly influences through
philosophy and access to deeper
reflections that invoked greater
refinement and elevation were
also part of grooming a great
painter. The historian Yang Xin
writes that by the end of the Tang
dynasty in China, painting had
crossed a threshold where the
tendency to use less colour and
even just water and ink alone,
he states, became prevalent.3 In

retrospect, critics and historians

cannot concur on the reasons for
why such a development came to
pass. Many conclusions articulate
the same premise that in scholarly
retreat, paintings that evolved to a
more symbolic character through
representation of landscapes
and specific subjects, such as
birds, bamboo, rocks and so on,
all of which conveyed different
combinations of a particular
message or ideal, rather than an
immediate translation of nature
and reality. In this instance,
the art that was produced was
arguably one of a more measured
and studied context, when
artists retreated and stayed in
studios, armed with only their
thoughts and alone with the
skills of their brush and ink.
When doing black and white
paintings, the artist needs to
understand his ink very well.
When ink is used well, the
strokes itself can encapsulate
the artistic intention, Tze Peng
says, when asked about the
monochromatic medium he has
employed of late.4 He harks back
to the era of calligraphic writing
and scholarly intent, where the
strokes are as equally significant
as the written word itself. The
forms are dominated by careful
application of ink and handling of
the brush. Tze Peng acknowledges
that black and white may seem
sparse, but in reality, he points
to a spectrum that is realized
with three colours: black, white
and the symphonic grey.
Eventually, Tze Peng maintains,
black and white compositions
must fulfill the role of colour.
The artist Lim Tze Peng has
evolved in his own illustrious
career for over 6 decades at least.

A teacher and headmaster of

school when he first began his
adult life, painting for him was
somewhat a concurrent pursuit
that mirrored his own passions
for the vitality of life in his
community. Self taught and
dedicated to his own personal
study, Tze Peng has over the
years, developed his own practice
employing the traditional
techniques of Chinese brushwork,
all the while incorporating strands
of influence from both East and
West. As a painter of this region
we know today, Southeast Asia
or Nanyang (literally, South
seas)5 to many members of the
pioneering arts community, it is
important to note that the art of
Tze Peng provides perspectives
of the emerging modernity
that defines the heart of this
region, through its art, through
its culture and civilization.
Old Singapore has particularly
endeared itself to Tze Peng,
whose early series of paintings
provide a considerable record of
the community and life prior to
official urban redevelopment.
This particularly applies to his
scenes of Chinatown and the
Singapore river, as well as its
surrounding area. He has travelled
around the region and often,
1

Painters on Painting, selected and edited with

Introduction by Eric Protter, Dover Publications 1997,
p.53

Three Thousand Years of Chinese Painting, Yale

University Press & Beijing Foreign Languages Press
1997, p.9

Three Thousand Years of Chinese Painting, Yale

University Press & Beijing Foreign Languages Press
1997, p.3

Interview with Tze Peng, 11 June 2012. All quotes

by Tze Peng following are take ad verbatim from this
interview, unless otherwise stated.

This denotation is made in the context of the early migr community, who were leaving the Southern Chinese
ports to come down the South China sea into the region
we know as Southeas Asia. The region is largely defined
by the Malay peninsula at one end and the Indonesia
archipelago at the other, and from the 19th century
onwards, the heart of which was the colonial Straits
Settlements comprising Malaya, Penang and Singapore.

LIm TZE PENG

out the white, he adds, creating

a powerful and stark contrast.
In history, white is not simply
white pigment: its symbolic gamut
runs from actual use of white
mineral chalk to emphasise light;
to scraping of portions (could
be existing ground or applied
pigment) away to reveal the
white. This methodical nature
of adding and taking away is
synonymous with practices in
both Chinese ink and Western
art. It emphasises the artists
own hand and vital cadence
and movement in defining form
on a two dimensional space.

painting numerous scenes of

local landscapes that personify
that beauty that is Southeast
Asia, from sandy kampongs to
bustling street markets; from
traditional kelongs to sites of
coastal industry (fishing, boat
repair and transportation).
Beyond the obvious elements
of human habitation, Tze Peng
has also favoured the more
vintage atmospheres found
in places such as Lijiang in
China, Paris, tribal villages in
Sumatra, the captivating charm
of Nepal and last but not least,
the mystical island of Bali.
Most of these paintings provide
a generous insight for how Tze
Pengs paintings have redefined
Chinese ink painting. Many works
are serial and collate as a group.
The nature of the renderings is
based on a predominant Western
discipline: that of sketching or
drawing on the site itself. What
differentiates Tze Pengs form

of sketching or drawing as it
were, is how he completes each
painting as a fully realized work.
It is not merely a drawing as part
of practice, but a full rendering
of the sight and scene before
him. The quality most evident
in his Chinese ink is the density
of his brushstroke, carefully if
briskly mediated by his attention
to balance and harmonious
composition within the space.
Compositions in Chinese ink
paintings create an awareness
of what is deemed positive and
negative space: spaces that are
filled with ink and strokes, and
spaces that are left blank as part
of the formal definition and not
simply empty space. In black and
white renderings, this formal
balance is highlighted even more.
It takes more skill to execute
a black and white painting as
strokes are the essence, Tze Peng
shares. Black and white contrast
each other very well. Using black
ink on a white background brings

Given that, we look at Tze Pengs

black and white with new eyes,
aware of the process of its making
as much as its final outcome. Tze
Peng is quick to acknowledge his
own development as an artist in
our modern metropolis, critically
evaluating issues in his practice
and production as a means to
improve, to progress, to refine,
to cross new thresholds. In
Singapore, he says, people are
always exposed to paintings in
colour, but not so much of black
and white compositions. The
surfeit of the modern world that
charges at us with all manner of
images and a riot of colour may
bend or numb our senses perhaps.
The established value of many of
Tze Pengs works derive from a
greater appreciation of both the
subjects he presents, landscapes
and unique perspectives so
beautifully rendered and
expressively coloured. Yet, Tze
Peng is astute to note, Recently,
there is a growing trend in
appreciating black and white
paintings. To them, a wellexecuted black and white piece
not only accentuates the beauty
and simplicity of the subject,

BLACK AND WHITE

but also gives off an elegant

and sophisticated feeling.
The black and white works of Tze
Peng revisit many of his familiar
subjects already rendered in
colour, images of old Chinatown
scenes, shophouses, people, streets

creating composite imageries does

not contradict Tze Pengs assertion
that nature is the best teacher. In
fact, drawing from his many years
of painting on site outdoors, he
has earned the privilege to create
new work by invoking the richness

and the more rural dimension of

kampongs and countryside. He
does not repeat these as copies,
but instead plays with the idea
in his mind, electing to construct
details he has both remembered
and forgotten. One should learn
from nature and paint the image
in ones mind, the painter Zhang
Zao wrote in the eighth century.6
In a recent exhibition of his Bali
paintings7, Tze Pengs ardent
admiration of the splendour of
idyllic Bali was what prompted
him to visit the island numerous
times over several decades,
painting on site to draw from
his best teacher as he declared,
nature herself. The discipline of

of his own archive, together with

the many ideas and lessons he
has earnestly imbibed through
travel, books and practice.
Appraising his latest paintings,
one cannot deny a sense of
freshness that emotes from the
black and white. The lines are
bold and confident, articulating
defined forms such as umbrellas,
boats, trees and architecture
(buildings, kelongs, bridges).
On the other hand, passage and
spaces, such as alleys, streets
and water, are created from the
consecration of black and white
shades over white, defining the
negative space in rich tonal
harmonies. White also alleviates
the density, such as the clearly
bare umbrella tops, and tarpaulin
in some images. The patterns
constructed with the line are

Zhang Yanyuan, Record of Famous paintings of successive dynasties, Shanghai renmin chubanshe, 1967

Tze Peng in Bali, held at Nanyang Academy of Fine

Arts, April - May 2012

dynamic and distinct, with the

white clearly emphasised. Light
and dark modulate the contours of
the artwork, investing a vibrancy
and energetic spirit that make
the scenes come alive. Succinct,
ambivalent layers of grey induce
movement, in the most obvious
case, of water surfaces for the
river and seaside scenes. In
the less obvious cases, it might
be the gentle sway of an ever
transforming sky, fabric roofs,
bobbing boats and even branches
and leaves of trees. The exacting
details of trees, roofs, figures,
boat shapes and buildings for
instance, demonstrate his skilled
draughtsmanship, still familiar
with realistic and natural forms
alike. They may be composites
from his imagination and memory,
but they are articulated with
accuracy and balance. A scene
from life can never stand still.
Single and collective lines and
brushwork contemplate moments,
but also highlight the briskness
and speed of the painter at work.
The vivid detail in his minds
eye combined with the skilled
modulations by Tze Peng in
shades of black, white and grey,
provides a vigorous familiarity
for our memories and our senses.
They convey to us that time that
we knew and know of, has passed,
and life marches on through
fortune and consequence. These
are real spaces, infused with
both memory and currency.
The dominant feature of the black
and white works may be the line
and form, but we cannot overlook
the fundamentals of Chinese ink
execution that present so vividly
still through Tze Pengs enterprise.
Taking the cue from his practice
of calligraphy and the importance

of rendering both line and form

in many permutations, Tze Pengs
black and white works highlight
equally his deftness at the wet
and dry brush in dispersing
his ink across his paper. The
loaded brush describes opaque,
almost rich jewel like qualities,
while the dry brush executes
textures that convey chiaroscuro
(light and dark) in the work,
modulating fresh forms, while
ageing them as the same time.
The beauty of this combination
asserts the vintage flair of
Tze Pengs renderings, even
while the monochromatic hues
represent his practice at his most
modern and visually agile state.
Tze Peng is excited by his own
recent endeavours and is keen
to maintain his explorations. He
describes his process of painting
and alludes to the variations he
has produced, I enjoy painting
in black and white, as even if
there are only these two colours,
many effects can be produced.
For example, when I dilute the
ink, I create different effect from
when I dont. When the ink is
concentrated, it creates a stronger
effect than its diluted version. He
likens the effects that result to the
ancient stone rubbings of China
that have existed for thousands of

years. It was a thousand years ago

but even up till now, I find it so
beautiful. Similar to calligraphy,
it appears only in black and
white and its beauty lies in the
lines carved into the stone.

Given that, our perspective

once again shifts for these black
and white works. Beyond the
two dimensional quality that
is obvious to any painting, for
Tze Peng, the sensations and
expressiveness that are critical can
be found in the tactile qualities
of the sculptural, the incised, the
carved, the reliefs of stone and
jade even. He is keen to share
that some subjects rendered
using black and white lend
themselves well to monochrome,
such as trees. The artist Huang
Binhong, Tze Peng shares, was

LIm TZE PENG

adept at painting landscapes,

flora and fauna in monochrome.
The mood of the painting, like
the size, can also determine
how black and white translates
onto the surface. To leave out
colour draws attention to the
ubiquitous, draughtsmans line and
the stark beauty of brushstrokes.
At its minimalist best, works
in only black and white on
any scale, Tze Peng states, can
be austere, and dignified: An
artistic intention can be seen
through lines and brushstrokes.
An artist plays around with
different types of lines, and
executes them through a variety
of brush strokes to create a good
piece. With paintings, success
can be easily attained through a
masterful choice of colours; but
stripped off all its colours, what
is left behind is still, lines.
Through the years, Tze Peng
has identified himself with his
Chinese heritage, and many of his
works pay homage to the handling
and expressive tendencies that
underline the formal composition
of any painting. Though equally
adept in western oil painting
and Chinese ink, the latter has
dominated his practice for the
greater part of his career. It should

10

BLACK AND WHITE

be noted that ink painting is far

more unforgiving that oil. The
flexibility of the oil pigment and
its longer drying time allows
for editing and manipulation;
whereas for ink, any mistakes or
irregularities are easily identifiable
and cannot be rectified. I have
asked Tze Peng, who has easily
created more than a thousand
artworks on paper that are
documented, if he has been known
to destroy works as is the custom
of ink painters who deem with
immediate attention, the work
produced is flawed. His response
is an unequivocal assent, fully
cognizant of the literati tradition
he assiduously follows with pride
and humility at the same time.
Additionally, in ink painting
itself, where colour is employed,
it is possible, Tze Peng shares,
to cover up mistakes or missteps

by applying colour to round up

the forms. However, this is not
possible with the starkness of
black and white. If destruction of
flawed artworks is not uncommon,
Tze Peng is still mindful of the
diligence in his practice that
yields his finer work. I only
do my black and white pieces
at home, he says, when I am
mentally and physically alert.
Alongside his paintings, Tze
Peng has continued to pursue his
calligraphic practice. He admits
that age has altered the pace and
characteristics of his production.
He resolves to paint everyday,
even if it is simply to write his
calligraphy. Even those works
do not follow a straightforward
method that is predictable or
automatic. The highest aesthetic
in Chinese art is still calligraphy,

not ink paintings. Tze Peng

asserts. Lines form the basis of all
calligraphic works and paintings.
Yet even with his calligraphy,
we note the same firm basis for
the foundation of his expression.
He may write in many known
genres of clerical script, even seal
script and grass (cursive) script,
articulating and quoting famous
colophons and poems of the
different dynastic eras. But his
compositional and textural play
still emotes with a compelling
force. In his range there are pieces
that resemble the ancient stone
rubbings he has spoken so highly
of, and these are a variation of
either writing in both ink and
white pigments to shadow the
script forms, or writing the
negative space and then colouring
in the positives, to result in the
words appearing as intaglio carved
scripts onto a surface that has
printed onto the paper. Make
no mistake, these works are the
result of writing by hand, and
not printing by stone blocks. The
gestures found in his calligraphy
of this style demonstrate the
fullness of handmade markings,
creating a rough, almost primitive
simplicity that Tze Peng confides
he himself so enjoys and
appreciates. Further, in exploring
his many calligraphic renderings,
one becomes aware of his agility
in transforming the practice into
a hybrid of new form that present
abstraction and a contemporary
vibe. Words written in the cursive
grass script style are written over,
condensed and with the deft
generosity of wet and dry brush
once again, come together like an
ancient yet visibly contemporary
allure of kaleidoscopic life.
This marvelous spectrum
achieved, despite the lone use

of black ink on a white space.

To me, Tze Peng confesses,
black and white paintings are
much harder to execute than
coloured ones. A well-executed
black and white painting can
give people a sense of primitive
simplicity with bold and vigorous
strokes. 90 years young, Tze
Peng can still lay claim to his
irrepressible zest for life and the
marked passion with which he
has pursued his lfies art. After
decades of practice and studied
revisions, travels, explorations
and worldly experiences, his
paintings rightfully draw on his
known repertoire that continues
to yield ever new and fresh
takes on what he considers his
discipline of making art using
Chinese ink. On occasion, this
has translated a venture toward
oils, but none have matched the
vigour, the empowered skills and
enthusiasm evident when one
stands before his ink paintings.
He is candid about how he paints
of late, in experimentation and
studied practice. He measures
his work against standards he
still sets for himself. Though
not entirely unaware of public

and general opinion, Tze Peng

is resolute about what he has
achieved, and how much more
he can achieve. The black and
white works are no doubt a
conscious endeavour to return
to the roots of his discipline,
and ensure his fundamental
skills continue to reach levels
of refinement through practice.
Ultimately, he is humble about
and humbled by his success and
asserts, To me, drawing is about
the heart of the object, not only
the superficial and the external.
In history, Tang writers of
the era have consensus on the
enormous reputation of the
artist Zhang Zao, considered
the most accomplished scholarpainter of his time. Tang writer
Fu Zai details this episode
that was recorded in history:
Right in the middle of the room
he sat down..took a deep breath,
and his inspiration began to issue
forth. Dividing and drawing
together, suddenly strange shapes
were born. When he had finished,
there stood pine treescrags
steep and precipitous clear

LIm TZE PENG

11

water and turbulent clouds. He

threw down his brush, got up, and
looked around in every direction.
It seemed as if the sky had cleared
after a storm, to reveal the true
essence of a thousand things.8
Tze Peng in black and white
allows us to appreciate that the
artists practice has come full
circle, embodying in its richness,
both the historical depth and
the contemporary relevance of
his painterly art. Somewhere
amid the infinite possibilities of
black, the white and the greys,
are revealed indeed, the true
essence of a thousand things.

Bridget Tracy Tan

MA (Hons) History of Art

director
(institute of southeast asian arts)
nanyang academy of fine arts,
singapore

Fu Zai on Zhang Zao, Yu Anlan (ed) zhongguo hualun

leibian (Classified anthology of Chinese writings on
painting) Beijing 1956, vol. I, pp. 20-21

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BLACK AND WHITE

BIOGRAPHY

ACCOMPLISHMENTS

EARLY LIFE

Lim Tze Peng born in 1921 first

established his art practice in
the early 1950s with a series of
oil paintings on Chinese landscapes. He is best known for the
significant number of Chinese
ink drawings and paintings of
Chinatown and the Singapore
River he produced during the
early 1980s. Having a solid foundation in Chinese philosophy,
art and culture, Lim Tze Peng
also practised Chinese calligraphy, especially in the 1990s.
In 2009, Lim Tze Peng was
invited to hold his solo exhibition in the prestigious Beijing
and Shanghai Art Museum.
Even though Lim was born and
educated in Singapore, his diligent studies and daily dedication
to practising his craft enabled
him to excel in the Chinese ink.
His new ink works are deeply
rooted in tradition, yet they
have a palpably contemporary
feel, and can be enjoyed by all.
Lim Tze Peng shows that Singapores multi-cultural environment may provide a context in
which artists can respond to a
variety of influences without
being affected by defensive form
of traditionalism or a superficial form of cosmopolitanism.
Lim Tze Pengs creative impulses
for his new works is clear; I
see and I paint, now its I reflect
and I paint. His latest series of
calligraphic works reveal a new
level of artistic maturity - their
raw energy reflect an aggressive
swiftness and decisive ferocity, injecting the calligraphy
with an invigorating tension.

Lim Tze Peng participated actively in artist field trips around

the Southeast Asian region in the
1960s. From the 1970s onwards,
he has participated in several
exhibitions - solo and group. His
first solo exhibition was in 1970.
Since then, he has exhibited
his works widely in Singapore
and abroad. He held three solo
exhibitions in the 1990s andhas
participated in more than 20
group exhibitions to date. In the
last four years, significant donations of his works have entered
the Singapore Art Museum and
Nanyang Academy of Fine Arts
through the artist and his collectors. For his contributions to art,
Lim Tze Peng has received several awards including the highly
respected Cultural Medallion in
2003.

Lim Tze Peng was educated at

Chung Cheng High School.
Upon graduation, he became a
teacher in Xin Min School in
1949. In 1951, he became principal of the school where he remained until 1981.

COLLECTIONS

Technological University, Singapore

Housing Development Board

Singapore

2008 - Inroads: Lim Tze Pengs New

Ink Work, Art Retreat Museum,
Singapore

Prime Ministers Office Singapore

Singapore Airline, Singapore Art
Museum
Oversea-Chinese Banking
Corporation
United Overseas Bank
Swiss Bank
Four Seasons Hotel, Singapore
Shenns Fine Art, Singapore
IBM Singapore Pte Ltd
Lee Kong Chian Art Museum,
National University of Singapore

SOLO EXHIBITIONS
2012 - Lim Tze Peng: Black and
White, Ode to Art Gallery, Singapore

2007 - Lim Tze Peng: Singapore

River Memory, Cape of Good Hope
Gallery, Singapore
2006 - Tze Peng in Paris, Nanyang
Academy of Fine Arts, Singapore
2006 - Infinite Gestures-Recent
Paintings by Lim Tze Peng,
Singapore Tyler Print
Institute,Singapore
2003 - Tze Peng,Singapore Art
Museum, Singapore

2009 - Inroads:The Ink Journey of

Lim Tze Peng, National Art Museum
of China, Beijing, China
2009 - Lim Tze Peng Solo
Exhibition, Ode to Art Gallery,
Singapore
2009 - Inroads:The Ink Journey of
Lim Tze Peng, Liu Haisu Art
Museum, Shanghai, China
2008 - Inaugural Exhibition, NTU
Art and Heritage Gallery, Nanyang

13

Anniversary Exhibition, Singapore

1993 - CAP III Inkscape, Singapore
Artists Directory Exhibition,
Empress Place Museum,Singapore
1991 - International Chinese
Calligraphy Exhibition, Beijing,
China
1989 - New York Art Expo 89, New
York, USA
1989 - 1st Bru-Sin Art Exhibition 89,
National Museum Art Gallery,
Brunei
1988 - Salon des Artists Francais,
Grand Palais, Paris, France
1988 - NAFA Lecturers Art
Exhibition 88, Singapore

1998 - Meeting Places in Fleeting

Spaces, Singapore Art Museum,
Singapore

1986 - ASEAN Art Exhibition,

various ASEAN countries

1995 - Moments by Lim Tze Peng,

Takashimaya Gallery, Singapore

1982 - Seventh International

Artists Art Exhibition, Taiwan

1991 - 2nd Solo Exhibition, National

Museum Art Gallery, Singapore

1980 - Fifth Festival of Asian Art,

Hong Kong

1970 - 1st Solo Exhibition, Singapore

1978 - Singapore Artists Group

Exhibition, Moscow, Russia

2012 - Tze Peng in Bali, Nanyang

Academy of Fine Arts, Singapore
2010 - My Kampong, My Home,
Singapore Management University
Gallery, Singapore

LIm TZE PENG

1977 - Royal Overseas League

Exhibition, England

GROUP EXHIBITIONS
2005 - The Society of Chinese Artists
70th Anniversary Commemorative
Exhibition, Singapore
2004 - Crossroads: Collected Works
of Second-Generation Artists, NUS
Museum, Singapore
2000 - 65th Anniversary Exhibition
of The Society of Chinese Artists,
Singapore
1999 - Singapore Art Society 50th

AWARDS
2003 - Cultural Medallion Award,
Singapore
1981 - National Day Award (PBM),
Singapore
1977 - Special Prize,Commonwealth Art
Exhibition, England
1963 - National Day Award (PPA),
Singapore

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LIm TZE PENG

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BLACK & WHITE SERIES

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Market

BLACK AND WHITE

Chinese Ink on Paper, 130 x 170 cm

LIm TZE PENG

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Chinatown Scene No.1

Chinese Ink on Paper, 162 x 180 cm

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Chinatown Scene No.2

Chinese Ink on Paper, 100 x 105 cm

LIm TZE PENG

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Street Hawkers

Chinese Ink on Paper, 100 x 105 cm

LIm TZE PENG

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LIm TZE PENG

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Chinatown Scene No.3

Chinese Ink on Paper, 100 x 105 cm

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BLACK AND WHITE

Old Singapore Scene

Chinese Ink on Paper, 160 x 225 cm

LIm TZE PENG

27

28

BLACK AND WHITE

Singapore River Boats

Chinese Ink on Paper, 100 x 105 cm

LIm TZE PENG

29

30

BLACK AND WHITE

LIm TZE PENG

31

Chinatown Market
Chinese Ink on Paper, 100 x 105 cm

32

Bali

BLACK AND WHITE

Chinese Ink on Paper, 100 x 105 cm

LIm TZE PENG

33

34

BLACK AND WHITE

Sidewalk Hawkers

LIm TZE PENG

35

Chinese Ink on Paper, 100 x 105 cm

36

BLACK AND WHITE

Chinatown Scene
Chinese Ink on Paper, 100 x 105 cm

LIm TZE PENG

37

38

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Chinatown Scene II II

Chinese Ink on Paper, 100 x 105 cm

LIm TZE PENG

39

40

BLACK AND WHITE

Old Street Landscape

Chinese Ink on Paper, 160 x 225 cm

LIm TZE PENG

41

42

BLACK AND WHITE

Back Alley

Chinese Ink on Paper, 100 x 105 cm

LIm TZE PENG

43

44

BLACK AND WHITE

Coastal Fisherman

LIm TZE PENG

45

Chinese Ink on Paper, 150 x 60 cm

46

BLACK AND WHITE

Trees

LIm TZE PENG

47

Chinese Ink on Paper, 100 x 105 cm

48

BLACK AND WHITE

Singapore River No.1 I

LIm TZE PENG

49

Chinese Ink on Paper, 70 x 140 cm

50

BLACK AND WHITE

Singapore River No.2 II

LIm TZE PENG

51

Chinese Ink on Paper, 120 x 245 cm

BLACK AND WHITE

LIm TZE PENG

53

CALLIGRAPHY

54

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Zhong Guang Diao

LIm TZE PENG

55

Chinese Ink on Paper, 100 x 105 cm

Shui Diao Ge Tow

Chinese Ink on Paper, 180 x 160 cm

LIm TZE PENG

57

58

BLACK AND WHITE

Tang Shi No.2 II

Chinese Ink on Paper, 100 x 105 cm

LIm TZE PENG

59

60

BLACK AND WHITE

LIm TZE PENG

61

62

BLACK AND WHITE

Da Jiang Dong Qu Lang Tao Jin

Chinese Ink on Paper, 260 x 130 cm

LIm TZE PENG

63

64

BLACK AND WHITE

Tang Shi No.1 I

LIm TZE PENG

65

Chinese Ink on Paper, 180 x 160 cm

66

BLACK AND WHITE

Tang Shi No.1 I

Chinese Ink on Paper, 180 x 160 cm

LIm TZE PENG

67

BLACK AND WHITE

LIm TZE PENG

69

OLD WORKS

70

BLACK AND WHITE

Bali Village

Chinese Ink on Paper, 65 x 65 cm

Old Singapore Scene

LIm TZE PENG

71

Chinese Ink on Paper, 69 x 69 cm

72

BLACK AND WHITE

Riverside

LIm TZE PENG

73

Chinese Ink on Paper, 65 x 65 cm

74

BLACK AND WHITE

Balinese Vendors

Chinese Ink on Paper, 70 x 70 cm

Temple Front

LIm TZE PENG

75

Chinese Ink on Paper, 65 x 65 cm

76

BLACK AND WHITE

Old House in Li Jiang

Chinese Ink on Paper, 70 x 70 cm

Sceneries in Li Jiang

LIm TZE PENG

Chinese Ink on Paper, 70 x 70 cm

BLACK AND WHITE

Pulau Ubin

Chinese Ink on Paper, 70 x 70 cm

Boats On Balinese Shores

LIm TZE PENG

Chinese Ink on Paper, 70 x 70 cm

80

BLACK AND WHITE

Early Singapore Kampong

Chinese Ink on Paper, 70 x 70 cm

LIm TZE PENG

81

82

BLACK AND WHITE

Balinese Street Hawkers

Chinese Ink on Paper, 70 x 70 cm

Temple Preparation

LIm TZE PENG

83

Chinese Ink on Paper, 65 x 65 cm

BLACK AND WHITE

Chestnuts For Sale

Chinese Ink on Paper, 70 x 70 cm

Balinese Food Stalls

LIm TZE PENG

85

Chinese Ink on Paper, 70 x 70 cm

86

BLACK AND WHITE

BLACK AND WHITE

LiM Tze Peng

First published 2012
On the occasion of
BLACK & WHITE, LIM TZE PENG SOLO EXHIBITION
ODE TO ART MARINA BAY SANDS
Ode To Art Raffles City
252 North Bridge Road,
Raffles City Shopping Centre, #01-36E/F,
Singapore 179103
T +65 6250 1901
F +65 6250 5354
Ode To Art Marina Bay Sands
2 Bayfront Avenue #01-19
Singapore 018972
Ode To Art Kuala Lumpur
168 Jalan Bukit Bintang,
The Pavilion, #06-24E/F,
Kuala Lumpur 55100, Malaysia
Tel: +603 2148 9816
Fax: +603 2142 6816
sales@odetoart.com
odetoart.com
Photography by Ho Yue Weng & Tung Yue Nang
Ode To Art Contemporary 2012
All rights reserved. No part of this publication may be reproduced or
distributed in any form or by any means, or stored in a database or
retrieval system, without the prior written permission of the publisher.
Measurements of artworks are given in centimeters
Printed and bound in Singapore

LIm TZE PENG

87

BLACK AND WHITE LIN TZE PENG