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Research Article
Where is home? Wen Peor’s art and social practice
Lu Sipei*†
,
lapwingbunting@proton.me
Huang Cenyan‡
Abstract
The 20th century witnessed rich narratives of left-wing cultural practitioners in Indonesia and China, navigating complex ethnic, national, and anti-colonial landscapes. Yet, understanding the experiences of art practitioners with cross-border mobility remains a challenge. Such individuals often find themselves marginalised or misunderstood amidst migration, social upheaval, and ideological interpretations. This paper delves into the life journey of Wen Peor, an ethnic Chinese artist born in Indonesia, who traversed multiple locales, including Padang, Jakarta, Guangzhou, the Farm for Returned Overseas Chinese in Huizhou, and Hong Kong. Through an exploration of Wen’s life and his illustrious body of work, this study seeks to shed light on his art and philosophies of social practice. It reflects on the experiences of an individual grappling with cultural identity amidst shifting times, who tirelessly sought connections to the notion of home. Wen’s story embodies a humanitarian spirit that transcends geography, lineage, and time.
Keywords
Chinese Indonesian artistssocial practicemigrationidentitynotion of homeWen Peor (Wen Bei’ou 溫悲鷗, 1920–2007) was born in 1920 into an ethnic Chinese family in Padang, on the west coast of Sumatra, Indonesia. In the 1930s, Wen returned briefly to China to pursue schooling in Guangdong, where he encountered the artistic and intellectual energy generated by the anti-colonial movements of the time. After returning to Indonesia, through his involvement with arts groups like the Lembaga Seniman Yin Hua (Yin Hua Artists Institute) and later with leftist organisations such as Lekra (Lembaga Kebudayaan Rakyat),1 Wen’s art took on a socially engaged approach, depicting the struggles of ordinary Indonesians and themes of anti-colonial resistance. The 1965 coup in Indonesia and the violent anti-communist purge that followed targeted many left-wing individuals and Chinese-Indonesian communities, forcing Wen to flee Indonesia in 1966 to escape persecution. After relocating to China, he found himself grappling with both the state expectations imposed on ‘returned overseas Chinese’ and the pressures of adapting to a new socio-political environment. This transition marked a major shift in Wen’s artistic journey. His early Indonesian works, marked by social realism and politically charged themes, gave way to a focus on landscapes and historical Chinese themes. This shift reflects Wen’s attempt to navigate the state-mandated expectations of patriotism and socialist values in China, while also reconnecting with his cultural roots in a newly adopted homeland.
In 2017, commemorating the tenth anniversary of the passing of Wen Peor, the Gu Yuan Art Museum in Zhuhai, Guangdong, inaugurated an exhibition entitled ‘Wen Peor’s painting exhibition: homeland and second homeland’. In a 1999 article, Wen referred to Indonesia as his ‘second homeland’ (Wen 2001), likely influenced by his early upbringing, which emphasised his Chinese cultural roots, and his residence in Hong Kong at the time of writing. However, subsequent analysis reveals that the terms ‘first’ and ‘second’ do not imply a hierarchical order of significance. Wherever he lived, he dedicated himself to addressing social reality and supporting young people. In his later years, his paintings increasingly blended the characteristics of both places, incorporating imaginative elements that reflected a vision of a conceptual home.
Wen’s work reflects the socio-political upheaval of mid-20th-century Asia, regional dynamics, anti-colonialism, and the complexities of diasporic identity. However, interpreting Wen’s works within existing discourse proves challenging. The framework of guiqiao in China, which translates to ‘Chinese nationals who have returned home’, underscores the expectation of patriotic allegiance and assimilation into socialist ideals, rather than a mere relocation to China (Peterson 2012: 132). Consequently, the interpretation of Wen’s oeuvre in China is heavily imbued with political connotations, often associating his works with expressions of love for the motherland or fostering friendly relations between China and Indonesia. In historic sites of farms for overseas Chinese where many ethnic Chinese from Indonesia were initially received, objects such as household goods, musical instruments, and agricultural equipment that residents brought with them from Indonesia or used in their daily lives on the farms are often displayed.2 Narratives of these exhibitions, as well as of Overseas Chinese Museums established all over China since the 1990s, tend to highlight the struggles and patriotic mindset of overseas Chinese communities, celebrating their contributions and China’s connections with countries worldwide (Wang Cangbei 2019). Conversely, in Indonesia, where the history remains inadequately addressed, the achievements of Chinese artists such as Wen have not received due recognition in appropriate contexts. Despite the profound influence of Wen’s works and social activism on many Indonesian artists, his name remains relatively obscure compared to other artists of his generation in Indonesia. Recent scholarship on Lembaga Seniman Yin Hua tends to examine the institute within the context of its role as a diplomatic intermediary between China and Indonesia, while also analysing its contributions to the development of individual artists, highlighting the self-positioning process of these artists within Indonesian society (Dermawan 2016; Isabella 2018a; Jurnaliston & Suliyati 2021). Yet, there exists a notable gap in the literature regarding the divergent paths chosen by artists, especially after 1965. While artists navigate mobility and diverse social contexts differently, cross-border migrants frequently find themselves marginalised or overlooked amidst periods of social unrest, their experiences often distorted through the lens of ideological doctrines and nationalism, especially when communism was (or is) taboo in Indonesia, and China avoided openly addressing 20th-century political turmoil. In light of this backdrop, the interpretive potential surrounding Wen’s life and work has been constrained, reducing him to simplistic labels, such as pro-Communist or patriot, and resulting in the politicisation of his art.
Through archival research, site visits, interviews, exhibition analysis, and contextual examination, this article aims to transcend nationalist narratives of art history and adopt precarious mobility and translocal perspectives as a framework to examine Wen Peor’s art and life. Wen’s persistent exploration of the concept of ‘homeland’ underscores the multifaceted nature of identity and belonging, complicating narratives of art history and the engagement of overseas Chinese with left-wing movements, revealing a journey marked by the cultivation of a dual sense of belonging amidst mobility. Historians, including Taomo Zhou (2019) and Tsaiji Lyu (2017), have contributed to constructing the individual experiences of ethnic Chinese within the broader context of transnational social history in Asia. Agus Dermawan (2016), a painter, journalist, and art historian of Chinese descent, has been pivotal in re-establishing the prominence of Chinese Indonesian artists like Lee Man Fong and Lim Wasim within the broader narrative of Indonesian art history. Brigitta Isabella (2018a, 2018b) has contributed extensively to the discourse surrounding Lembaga Seniman Yin Hua. Her writings enrich discussions about Chinese-Indonesian artists and their complex identities, particularly in the context of Sino–Indonesian diplomatic relations during the Cold War era. Addressing the phenomenon of the museumification of overseas Chinese, Wang Cangbei (2019) also highlights the importance of incorporating the perspectives of individuals within the diasporic community into cultural heritage studies, thereby challenging the traditional unified nation-state framework. Cai Tao (2019) delved into the life trajectory of artist Tan Huamu (譚華牧, 1895–1976), who initially resided in Guangzhou but relocated to Macau in 1949. He returned to Guangzhou in 1956 in response to the government-initiated call for overseas Chinese artists to come back to China, driven by an eagerness to reunite with his family. Cai illuminated how Tan strived to maintain his individuality through his drawings, thereby complicating the prevailing narratives surrounding ‘returnees’. This article aligns with these efforts by seeking to contribute to a nuanced understanding of Wen’s life and work within the context of transnationalism and ethnic identity and to further discussion on artists with fluid identities who exist in-between cultural and national boundaries.
Many of Wen Peor’s artworks are meticulously preserved within his family’s storage spaces in Guangzhou and Hong Kong. Through several visits to Wen Hai, Wen Peor’s son—a writer and educator residing in Hong Kong who occasionally travels to Guangzhou—we had the privilege of viewing Wen Peor’s works in person. The vibrancy, texture, and visual impact of his creations far surpassed their representation in printed materials or on computer screens. Wen Peor left behind only a scant few textual materials with little evidence of diaries or letters. The tumultuous social climate of his time perhaps hindered timely documentation, or he may have sought to shield himself and his family from unnecessary scrutiny, preferring quiet introspection. Details of Wen Peor’s life emerged primarily from accounts shared by family and close friends, obtained through both online and in-person interviews. For example, Huang Yuan, a distinguished scholar and the daughter of the renowned woodcut print artist Huang Xinbo (黃新波, 1916–80), recounted anecdotes of her father’s close friendship with Wen and their discussions on art. However, gaps in memory persisted among those we consulted. Additionally, we established contact with the Guangdong huayuan (廣東畫院, Guangdong Art Institute), a government-led artist association of which Wen became a member after working on the Farm for Overseas Chinese for seven years. The Centre for Southeast Asian Studies at Xiamen University emerged as another valuable resource, boasting an extensive collection of magazines and books published in 20th-century Indonesia—a realm where Wen left a significant mark as an illustrator and designer. Finally, our heartfelt gratitude goes to Brigitta Isabella, whose enduring interest and thorough research on Chinese Indonesian artists laid the foundation for this work. Her insights, along with the depth of our conversations and friendship, have been invaluable.
Painting as life: a transcendent vision rooted in anti-colonialism and ideals of multi-ethnic co-existence
This section will elucidate the pivotal factors that shaped Wen’s artistic vision and his major activities in Indonesia. Despite the prevailing social climate of Wen’s era, which discouraged the assimilation of ethnic Chinese (Zhou 2019: 7), Wen remained attuned to the social issues of his surroundings, actively engaging in social activities. While his paintings span a diverse array of topics, a central theme emerges: a focus on the everyday lives and encounters of individuals, avoiding the creation of an exotic style. Instead, his artwork exudes a sense of solidarity with the depicted individuals, as if he stands alongside them within the scenes, while creating a visceral relationship with the viewer.
Wen Peor’s familial ties to Chinese heritage (Tang Chaoren 2006), combined with his formative years of study in Guangdong, likely ignited his early passion for the arts, particularly in woodcut. The 1930s in China were a time of significant social and cultural transformation, following the intellectual and cultural awakening of the May Fourth Movement in 1919. This period saw a surge in the pursuit of personal liberty, modern ideas, and Marxist ideologies that fuelled left-wing political movements. In Guangzhou, artists and intellectuals, influenced by these new philosophical currents, embarked on critical re-examinations of their identities, art forms, and roles in society. Guangzhou’s artistic landscape in the 1930s flourished with a proliferation of arts organisations, private associations, and art education programmes. Institutions like the Chi She Art Society (赤社), the Guangzhou Municipal School of Fine Arts (廣州市立美術專科學校), and the Modern Prints Society (現代版畫會) were pivotal in promoting modern art concepts and revolutionary ideals among the youth. The southward shift of the New Woodcut Movement from Shanghai and Hangzhou to Guangzhou between 1933 and 1935 was characterised by a unique blend of international modernism and local socio-political awareness in the region (Tang Xiaobing 2008: 182–97). The sharp monochromatic contrasts of prints embodied both the modernist aesthetic and the realist woodcut imperative of addressing societal issues, inspiring many young artists to ‘go to the people’ by creating accessible, impactful works focusing on common people (Qi 2012). Wen’s immersion in this environment profoundly shaped his artistic approach, distinguishing him from many Chinese emigrants or second-generation overseas Chinese, who maintained only a distant connection to China.
Upon graduating from middle school, Wen returned to Indonesia in 1937. After teaching for two years at a middle school in Sumatra, the 21-year-old Wen arrived in Batavia (modern-day Jakarta) in 1941, embarking on his artistic journey (Wen 2001). Batavia, the capital of the Dutch East Indies, was home to a vibrant art scene that reflected the region’s diverse social and political dynamics. At this time, Chinese-language newspapers in the region rarely featured illustrations, but this began to change as young ethnic Chinese artists entered the fields of press and publication. One prominent figure in this movement was Lee Man Fong (李曼峰, 1913–88), a celebrated ethnic Chinese artist who served as the art editor of Shibao (The Times) from 1931 until its closure. This period marked a significant shift in the role of art within the Chinese-Indonesian community, as visual imagery became an increasingly powerful tool for communication, cultural expression, and social commentary. When Wen Peor arrived in Batavia, he began working at Studio Foto Tati, initially focusing on commercial productions, which helped him establish financial stability and professional connections.
The Anti-Japanese War in China from July 1937 and the Japanese invasion of Indonesia during World War II since early 1942 profoundly impacted artists like Wen, shaping their creative trajectories and compelling them to respond to the tumultuous socio-political climate. During a sketching trip to Tjidjulang, West Java, in 1943, Wen was detained for three months by the Japanese military on suspicion of collecting intelligence—an experience that highlighted the risks faced by artists working under occupation. In 1947, Wen joined the arts group of Sin Ming Hui, a prominent Chinese social and educational organisation. Wen designed books for Jajasan Kebudajaan Sadar (The Awakening Culture Foundation), including picture books and songbooks that aimed to raise awareness about cultural and social issues, while advocating for the rights of marginalised groups. Wen’s participation in Pelukis Rakjat (The People’s Painters) further underscored his belief in the transformative power of art to serve the people. This organisation, grounded in the principles of equality and social responsibility, aligned with Wen’s vision of art as a means to foster solidarity and promote justice.
Figure 1.
Wen Peor’s book cover design for a Chinese picture book of Gulliver’s Travels, published in 1965 by Jajasan Kebudajaan Sadar.
A book cover illustration features a giant man in a blue coat standing against a bright blue background representing the sea. His arms are bound with multiple black ropes that extend from his back to numerous small sailing ships. The title, written in white Chinese characters, reads ‘A Voyage to Lilliput’. The composition emphasizes contrast between the man’s large form and the tiny ships.
Throughout the 1950s, Wen created a series of oil paintings and prints that offered unflinching portrayals of the harsh realities of life under colonisation and war. His works from this period, including Home (Figure 2), reflect a compassionate and empathetic response to the suffering he witnessed, as well as a profound commitment to connect the emotions and resilience of his subjects.
Figure 2.
Wen Peor, Home. Oil on canvas. 80 cm × 108 cm. 1954. Wen’s family collection, Guangzhou.
At the centre of the composition is a middle-aged woman dressed in a deep red blouse and a dark-coloured long skirt, barefoot. Her hands cover her face, her head slightly bowed, and her expression is filled with sadness and melancholy. She is seated on a damaged, classical-style stone bench. Its surface is worn and uneven, with visible cracks and missing pieces. The background presents a desolate landscape: a few sparse trees with bent trunks and drooping branches are scattered across the scene. The ground is yellowish-brown, littered with bricks and rubble. The dark tones of the background contrast with the foreground. The painting’s overall colour palette is muted and sombre, dominated by browns, ochres, and deep reds.
In Home, Wen places a distressed woman at the centre of the composition, drawing the viewer’s attention to her worn face, etched with wrinkles. Her expression is one of profound sorrow; with one eye closed and the other staring lifelessly at the ground, she seems weighed down by loss and exhaustion. The broken stone stair and the desolate landscape surrounding her reinforce the sense of devastation and displacement, with broken bricks and fallen, crooked trees. The woman might represent a broader collective identity—one tied to the shared suffering of ordinary people, responding to the specific cultural and political environment of 1950s Indonesia, where tensions surrounding identity, nationalism, and diaspora communities were pronounced. Amidst the overwhelming scene of loss, Wen subtly introduces a symbol of resilience—a small, new plant sprouting from the ground, suggesting that life endures even in the most desolate circumstances. Through Home and similar works from this period, Wen explores not only the suffering endured by his subjects but also their unyielding strength and capacity for survival, encouraging viewers to recognise the dignity of those who have been marginalised by war, colonisation, and other sufferings. Wen’s depiction of the figure, marked by emotional intensity and psychological depth, suggests a departure from purely academic social realism, favouring a more expressive and subjective representation. The exaggerated features, raw emotion, and dark, swirling background show parallels with German Expressionist artists like Käthe Kollwitz and Egon Schiele, who used distortion to convey psychological and social tension. While painted in oil, Wen retains a sense of movement and spontaneity reminiscent of Chinese ink painting, particularly in his brushwork and compositional dynamism.
1949 witnessed a critical moment in Wen’s identity and political choice, which reflected deeper layers of pragmatism, ideological shifts, and alignment with a broader Chinese diasporic identity that was evolving within Indonesia. During this period, many Chinese-Indonesians faced discrimination and were pressured to navigate their affiliations with both China and Indonesia carefully. The introduction of restrictive policies by authorities earned ethnic Chinese in Indonesia the unsolicited label of ‘wealthy underprivileged’ (Wei 2018), positioning them as the scapegoat for national poverty and vulnerability. This subtle hostility prompted many to increasingly identify with their ancestral homeland (Fan 2005: 47–52), fostering feelings of insecurity and distrust among local administrators and indigenous populations. Additionally, Peranakans, or locally born descendants of Chinese immigrants, and Totoks, new immigrants born elsewhere, often identified differently (Suryadinata 1985). Since the 1940s, both the Kuomintang (KMT) and the Chinese Communist Party (CCP) sought to garner support from the overseas Chinese community (Zhou 2019: 5–9), exposing Wen to various ideological currents and strategies. His father then served as a delegate of the Overseas National Assembly of the KMT. However, Wen appeared to have been shaped more by his responses to life experiences rather than by the doctrines of political parties. During the decolonisation war from 1945 to 1949 between Indonesia and the Netherlands, tensions escalated, particularly in May 1946, leading to the Tanggerang Massacre, in which many ethnic Chinese were killed and KMT was not considered helpful for protecting the interests of the ethnic Chinese community (Lin Chih-Cheng 2011). The phrase ‘motherland not returning his gaze’ (Dui 2022) aptly captures the sentiment of many overseas Chinese. This experience likely influenced Wen’s actions in 1950 when, amidst a dispute over which flag—KMT’s or CPC’s—to raise at SJKC Bukit Tinggi in Padang where Wen was teaching, Wen and his friends decided to raise the national flag of the People’s Republic of China (PRC).3 Scholars such as Taomo Zhou discuss how the PRC’s call for solidarity with overseas Chinese fostered a sense of pride and belonging among those who felt disenfranchised by local governments or disillusioned with the KMT’s handling of ethnic Chinese issues (Zhou 2019: 120–45). Thus, Wen’s choice symbolised a moment of reclaiming identity and asserting his place within a complex socio-political landscape, where allegiance to the PRC represented not just loyalty to a nation but also a pathway to a dignified and resilient Chinese-Indonesian identity.
During his time in SJKC Bukit Tinggi (1950–5), Wen dedicated himself to the cause of education. He also produced numerous pen sketches depicting the school and students’ activities, as well as scenes of Indonesian landscape and urban life in Bukit Tinggi, characterised by relaxed and flexible lines with a senses of motion (Figures 3–5). As a self-taught artist, Wen was unrestricted by specific artistic schools. His use of lines, brushstrokes, and colours creates a powerful force, drawing viewers into the emotional and energetic flow of the artist. In terms of the role of nature in his paintings, Wen is often compared to Kartono Yudhokusumo, portraying humans as an integral part of nature (TEMPO 2021: 63–5). In Wen’s works, humans and artificial structures are humbled and inspired by the sacredness of nature, emphasising the interconnectedness of all elements. Furthermore, Wen’s art often reflects the idea that, when human life is not in harmony, nature too suffers.
Figure 3.
Wen Peor, SJKC Bukit Tinggi in Sumantra. Sketch on paper. 27 cm × 24 cm. 1951. Wen’s family collection, Hong Kong.
A line drawing that depicts a quiet village scene with simple houses, a picket fence, and tall, leafy trees. Small figures, possibly villagers, walk along a path. In the background, a clock tower with a decorative emblem stands among rooftops. The sketch is detailed yet fluid, capturing everyday life.
Figure 4.
Wen Peor, The Mountain Town of Bukit Tinggi in Sumantra. Sketch on paper. 24.5 cm × 32.5 cm. 1951. Wen’s family collection, Hong Kong.
A line drawing depicts a lively street scene framed by towering trees with delicate, swirling branches. In the foreground, people walk along a curved road, some carrying goods. Small houses and greenery fill the middle ground, while mountains stretch across the horizon. The composition conveys movement and everyday life in a natural setting.
Figure 5.
Wen Peor, The Big Clock Tower of Bukit Tinggi in Sumantra. Sketch on paper. 24 cm × 30 cm. 1951. Wen’s family collection, Hong Kong.
This sketch depicts a town landscape, centred around a towering clock tower, surrounded by houses and trees arranged in a well-organized manner. The scene portrays a town seen from a high vantage point. Tall trees are scattered between the houses, with their branches and leaves outlined in smooth lines, emphasizing their form. In the foreground are several low plants with slender and lush leaves. The lines of the sketch are smooth and natural, focusing more on the overall mood and atmosphere rather than intricate details.
In April 1955, Wen Peor and Lee Man Fong, with other artists, co-founded Lembaga Seniman Yin Hua, an alliance for ethnic Chinese artists in Indonesia regardless of their nationality or place of birth.4 In 1956, the institute held its inaugural large-scale exhibition, showcasing a diverse range of works, including realistic oil paintings, pieces influenced by Western modernism and cubism, and traditional Chinese ink paintings. The exhibition catalogue5 featured a list of Working Committee members, representative works of members, and texts introducing art movements in China, emphasising the creation of art for the people.
Lembaga Seniman Yin Hua, despite not being explicitly ideology-driven, was significantly influenced by considerations of racial identity and diplomatic relations (Isabella 2018b). In the 1950s, as Indonesia consolidated its independence, Chinese-Indonesian artists encountered structural biases that shaped both their work and their place in society. Nationalist policies aimed at building a cohesive Indonesian identity began to marginalise ethnic Chinese communities, questioning their allegiance and positioning them as ‘foreign’ elements within the cultural landscape. Chinese-Indonesian artists had to navigate these biases carefully, balancing their political engagement with a sensitivity to ethnic tensions, as their works were frequently framed within the constraints of ethnic identity. These factors inevitably shaped the creative direction of the institute and the messages conveyed through its artworks. For example, during the institute’s first exhibition, the decision to prominently display Tjio Tek Djien’s Portrait of President Sukarno as a centrepiece in the hall was met with denunciation. An anonymous (1965) visitor criticised this decision, suggesting that it might give the impression that the event was merely seeking attention from the authorities and questioning the quality of the portrait itself. This visitor expected the institute to engage in more conscientious art activities.
Unlike many paintings in the exhibition that depict landscapes, folk life, or beautiful imagery, Wen Peor’s exhibited works portray the difficult lives of common people and their struggle for freedom and homeland. These pieces are less decorative and do not evoke exotic images of Indonesia. For example, in woodcut work Street Singer (Figure 6), a family dressed in ragged clothes stands in a dimly lit street at night. In the centre, a man plays the violin with a solemn expression. The woman and girl standing beside him, likely his wife and daughter, gaze into the sky with gaunt expressions, singing along with the music. The girl holds an upside-down hat with a 10-cent note inside. The stark contrasts and sharp, angular lines typical of woodcut printing, as well as the exaggerated, almost grotesque, rendering of the figures, conveys emotional intensity and despair. The visual language of this woodcut, as well as the miserable voice extended through the visual, underscores universal human struggles while also carrying the weight of socio-political commentary.
Figure 6.
Wen Peor, Street Singer. Woodcut. 16 cm × 16.5 cm. 1954. Wen’s family collection, Guangzhou.
This woodcut depicts the tragic scene of a poor family during a time of war. The central figure in the image is a woman gazing up at the sky, her expression one of despair and numbness. Her clothes are tattered. Beside her stands an elderly solemn man, who appears to be playing a musical instrument. In front of them, a young girl bows her head, holding an empty plate, pleading for charity. Her expression is sad and helpless. In the background, there is a dilapidated building. The overall colour tone is dark, with bold and powerful lines that have a strong visual impact.
For Wen and many Chinese Indonesians, their identity reflects a cross-ethnic, anti-colonial stance that champions coexistence among diverse ethnicities, rejecting the rigidity of party-political dogmatism. Wen Peor’s perspectives on the position and future of the ethnic Chinese were likely influenced by various schools of thought, including the following: many ‘southbound intellectuals’—Chinese nationals who migrated to Southeast Asia during the early to mid-20th century and become active members of the political, cultural, and educational sectors—urged ethnic Chinese to resist Japanese occupation and align with local nationalist movements, advocating for contributing positively to the development of Southeast Asian nations (Ng 2015: 108); Pramoedya Ananta Toer, a prominent left-wing Indonesian writer, published Hoakiau di Indonesia (The Chinese in Indonesia) in 1960, critiquing discriminatory policies against Chinese Indonesians such as Presidential Decree No. 10 (Liu Hong 2000: 68). Integrationists like Siauw Giok Tjhan advocated for participation in Indonesian politics, economy, and social life while also promoting Chinese cultural traditions. They sought to demonstrate loyalty to Indonesia while maintaining a sense of Chinese identity (Siauw 2000; Suryadinata 2014). Ba Ren, the former PRC ambassador to Indonesia who similarly envisioned multi-ethnic alliances, immersed himself in history and playwriting during China’s political tumult, crafting works in which different ethnic groups rallied against injustice (Dui 2022; Zhou 2019: 218). According to Wen Hai and Wen Peor’s peers, such as Chen Xixian,6 Wen recognised that Indonesia’s independence as a nation was crucial for achieving genuine equality for ethnic Chinese. By supporting Indonesia’s independence and actively participating in Indonesian society, Wen sought to contribute to the creation of a more inclusive and equitable nation where all citizens, regardless of their ethnicity, could thrive. This perspective likely influenced his decision not to migrate to PRC in the 1950s or early 1960s, when many ethnic Chinese chose to do so (Zhou 2019: 191). Wen chose to leave in 1966, only after facing severe threats to his personal safety amidst the upheaval, signalling a rupture in the dream of co-existence.
Within the local Indonesian art scene, there had been continuous attempts and reflections on the role of art in society, particularly intensified during the 1940s due to the struggle for independence. For instance, Sindoesoedarsono Soedjojono, an Indonesian artist and pioneer in addressing decolonisation, criticised the idealised portrayal of the Indonesian landscape and people as a land of joy, peace, and tranquillity, rejecting the ‘Mooi Indie’ (beautiful Indies) style (Lyu 2017: 34). In 1938, he founded Persatuan Ahli-Ahli Gambar Indonesia (the Association of Indonesian Drawing Specialists) in Batavia, aiming to foster ethnic unity among artists and redirect the country’s artistic values towards national identity, advocating for creating serious and professional works depicting the experiences of Indonesians. Lembaga Kebudayaan Rakyat (Institute for the People’s Culture), or Lekra, established in August 1950 as Indonesia’s largest left-wing cultural entity, viewed art as a means to promote social progress and reflect social realities. One of Lekra’s key principles was ‘turun ke bawah’ (mingling with the people), which involved living, working, and eating with fishermen, farmers, and other labourers to break down class divisions and liberate art from pretentious sentimentalism (Woolgar 2020). Additionally, Lekra envisioned promoting the development of Indonesian nations and culture by assimilating progressive foreign cultures while supporting traditional national culture (Foulcher 1986: 209–17). Woodcuts emerged as a pivotal artistic medium in Indonesia during the late 1930s, achieving significant prominence in the 1940s (Bodden 2018: 1–33). Harian Rakjat, a prominent newspaper, frequently showcased woodcuts in its supplement, exposing Indonesian audiences to a diverse range of international works. Chinese woodcuts, including those by artists like Yang Newei (楊訥維, 1912–82), were regularly featured from the 1960s onward, profoundly influencing Indonesia’s local art scene. Wen Peor had always kept a close relationship with the leftist art circles in Indonesia. He joined Lekra in 1959 (Wen 2001), and supported Indonesian artists and organisations such as Sanggar Bumi Tarung (Fighting Grounds Art Association), or SBT, established in Yogyakarta in 1961 (Tamrin 2020: 102–12).
Wen’s political woodcuts, including Mengganjang 7 Setan Desa (1964, Figure 7), Kami Telah Bangkit (1964), Peasant (1965, Figure 8), Indomitable (1966), Boatman (1965), and Disaster Brought by the West Wind (1963), reflect an impassioned exploration of the struggles and resilience of Indonesians. In Mengganjang 7 Setan Desa, the composition portrays a farmer labouring against a backdrop of oppression, depicted by layers of dense patterns and swirling energies, guiding the viewer’s eye across the composition. The labourer’s posture is bent yet resilient, shaped by an organic, undulating form. Rhythmic lines trace his muscles and blood vessels, generating a powerful sense of motion that seems to burst toward the viewer. Similarly, Peasant encapsulates the plight and dignity of an ordinary man. The skeletal farmer, rendered in sharp, angular strokes, is firmly holding a sickle and walking with determination, with an upright stance and forward momentum. The clouds seem to follow closely behind him, almost as if lending support.
Figure 7.
Wen Peor, Mengganjang 7 Setan Desa. Woodcut. Unspecified dimensions. 1964. Wen’s family collection, Guangzhou.
This is an abstract woodcut print depicting a dynamic and energetic figure, occupying most of the composition, with a body composed of a series of flowing curves and sharp lines. Surrounding the figure are numerous small, densely packed patterns, possibly representing plants, insects, or other tiny life forms. In the upper portion of the composition, abstract lines and shapes suggest ethereal clouds or distant mountains.
Figure 8.
Wen Peor, Peasant. Woodcut. 25 cm × 25 cm. 1965. Wen’s family collection, Guangzhou.
This woodcut print portrays a powerful figure rendered with a strong sense of texture, using bold, rough lines that emphasize his strength and movement. His facial expression is solemn, with a hint of suffering. The clouds are depicted with radiating lines, creating a sense of ascension. The composition is dominated by stark black-and-white contrasts.
Wen frequently employed exaggerated and distorted body movements in his depictions, such as clenched fists raised in defiance or dynamic postures that accentuated physical exertion. These stylistic choices imbued his compositions with a sense of vitality and urgency, capturing the emotional and physical strain of his subjects’ struggles. Indonesian Peasant (1966, Figure 9) applies vibrant and earthy hues, emphasising a deep connection to nature and agricultural life. A man dressed in batik gazes into the distance with a steadfast expression, while two white birds hover around his head, seemingly following his gaze. The landscape around him appears to be composed of rows of fields, resembling a river, with the intense sunlight casting its glow in the background.
Figure 9.
Wen Peor, Indonesian Peasant. Oil on canvas. 85 cm × 133 cm. 1966. Wen’s family collection, Guangzhou.
A man wearing a patterned batik shirt stands with a serious expression in a farmland lit by a warm sun, looking into the distance. Two white birds fly near his head. The background has warm colours and soft lines, giving the image a calm and thoughtful feeling.
These images not only document societal struggles but also galvanise collective memory and solidarity. Whereas socialist realism often relied on detailed, idealised depictions and celebratory narratives to glorify the proletariat and state ideals, Wen adopted an expressionist approach, characterised by bold symbolic techniques, striking contrasts, and emotionally charged scenes imbued with a sense of theatricality. Rather than romanticising peasant life or indulging in propagandistic idealisation, Wen’s art focused on personal agency and an unflinching reflection of reality.
Wen’s Disaster Caused by the West Wind (1963, Figure 10) exemplifies his ability to blend Indonesian folk art with deeply expressive narratives to critique colonialism. The painting portrays a coastal scene filled with anguish and resilience, where the figures of women and children bear witness to devastation. Their postures—marked by tension, with clenched fists and sombre faces—capture the emotional weight of their struggle. The scattering of dead fish along the shore intensifies the sense of tragedy. The painting style, including its employment of vibrant yet earthy tones, grounds it in a palette reminiscent of traditional Indonesian batik art. The figures’ dark skin tones and traditional clothing styles suggest they are native Indonesians. This landscape resonates with a visceral sense of history, shaped by colonial exploitation and environmental disruption. In Boatman (1963, Figure 11), the central figure—an Indonesian boatman—sits with an air of stoic pride, holding a brightly adorned model boat. His exaggerated physical features, such as his broad shoulders, firm grasp, and weathered face, speak to his resilience and connection to the sea. The vibrant pink background, far from a naturalistic portrayal, creates a surreal atmosphere. The patterns on the boats and the boatman’s striped pants further highlight Wen’s integration of Indonesian folk motifs. Wen’s work transcends mere illustration, offering viewers an emotional and cultural journey through the lived experiences of his subjects.
Figure 10.
Wen Peor, Disaster Caused by the West Wind. Oil on canvas. 225 cm × 133 cm. 1963. Wen’s family collection, Guangzhou.
The painting portrays a coastal scene where the figures of women and children bear witness to devastation. Their postures are marked by tension, with clenched fists and sombre faces. The scattering of dead fish along the shore intensifies the sense of tragedy. The painting employs vibrant yet earthy tones, grounds it in a palette reminiscent of traditional Indonesian batik art. The figures’ dark skin tones and traditional clothing styles suggest they are native Indonesians.
Figure 11.
Wen Peor, Boatman. Acrylic on canvas. 70 cm × 80 cm. 1965. Wen’s family collection, Guangzhou.
In this painting, the central figure—an Indonesian boatman—sits with an air of stoic pride, holding a brightly adorned model boat. He has broad shoulders, firm grasp, and a weathered face. The vibrant pink background creates a surreal atmosphere.
The violent anti-communist purges that followed the 1965 military coup targeted left-wing groups, and many ethnic Chinese, regardless of their actual political affiliations, were caught in the wave of persecution. Structural biases within Indonesia thus rendered the Chinese-Indonesian community vulnerable, not only as ethnic minorities but also as presumed sympathisers of communist ideologies. Artists like Wen Peor, whose work aligned with anti-colonial and socially engaged themes, faced severe limitations; their art was often politicised or viewed through a lens of ideological suspicion. These biases not only threatened the safety of artists like Wen but also curtailed their ability to represent their identities freely.
Fearing persecution, imprisonment, or even assassination due to his leftist associations, Wen made the difficult decision to leave his beloved homeland behind on 10 May 1966.7 This departure symbolised his disconnection from Indonesia and the collapse of the ideal of multi-ethnic fusion that had been central to his identity and artistic vision. In his personal recount, he felt ‘heavy-hearted’ when leaving Indonesia (Wen 2001).8
From ‘overseas Chinese’ to ‘returnee’: the multiple construction of the idea of home
Figure 12.
Wen Peor, Bright is the Moon over My Hometown. Oil on canvas. 100 cm × 77 cm. 1956. Indonesia’s Presidential Palaces, Jakarta.
A village is shown from above, with houses surrounded by thick, green trees. Various types of trees spread across the canvas in all directions. Their shining leaves catch the golden moonlight, creating a radiant glow that envelops the surrounding objects. The painting uses rich, warm colours, making the landscape feel full and lively. The rooftops and pathways blend naturally into the surrounding vegetation. Looking closer, one can see children playing with each other happily in courtyards.
During Wen Peor’s first visit to Meixian, Guangdong, his ancestral home, during a Lembaga Seniman Yin Hua trip to China in 1956, he painted Bright is the Moon over My Hometown (1956). The painting features a full-bodied, rich colour palette, portraying peaceful village houses nestled within lush vegetation from an aerial perspective. Art critic Li Xu (2001) praised Wen’s ability to marry the meticulous strokes of elaborate Chinese paintings with the unconstrained brushwork of the Western tradition. Li Xu also noted the deliberate inclusion of several children playing in the fields, adding a sense of life and activity to the serene and leisurely depiction of the homeland. Later, President Sukarno purchased this work, which can be seen as a symbolic gesture of friendship and solidarity with China. During the mid-1950s, Indonesia and China were strengthening diplomatic ties, with Sukarno pursuing policies that aligned with anti-colonial and non-aligned movements in Asia. However, it is important to note that Sukarno’s recognition of Wen’s work did not fully translate into an improved position for Chinese-Indonesian artists within Indonesia itself.
Left-leaning Sukarno and his efforts to improve relations with China coincided with Chinese government initiatives to position itself as a champion of anti-colonial and nationalist movements in Asia. One significant initiative was the organisation of trips for overseas Chinese to visit China (Wang Sujun 2018: 75–6). The 1956 Lembaga Seniman Yin Hua trip to China, which included Wen Peor and nine other artists from Indonesia, lasted for a couple of months. During their visit, they were received by prominent Chinese state leaders such as Chairman Mao Zedong, Premier Zhou Enlai, and Vice President Zhu De. Additionally, the artists held exhibitions of their works in Guangzhou and Beijing. Their artworks from the trip were compiled into a catalogue entitled ‘Selected Works of Overseas Chinese Artists Delegation in Indonesia’ by the People’s Fine Arts Publishing House in 1958. Scholars such as Wang Gungwu discuss how China, through cultural exchanges, aimed to forge emotional and ideological connections with overseas Chinese, encouraging them to see the PRC as the rightful homeland (Wang Gungwu 1991: 88–101). Additionally, during this trip, artists were introduced to the PRC’s cultural policies and expected to produce works that resonated with socialist ideals. By guiding the artistic themes and encouraging the portrayal of Chinese landscapes, revolutionary heroes, and proletarian subjects, the PRC aimed to cultivate an art that would resonate with its vision of a unified, socialist Chinese identity. Julia Andrews discusses how such visits often had long-term effects on overseas artists, fostering a sense of responsibility to promote China’s image abroad (Andrews & Shen 1994: 145–59).
Interestingly, Wen Peor’s paintings, which depicted the harsh realities of colonial rule and societal oppression, were exhibited and published in China during a time of strict cultural policies. Artists in China like Huang Xinbo, who is known for his vibrant and dynamic paintings that capture the essence of identity, culture, and the human experience, faced criticism for deviating from the orthodox and revolutionary principles advocated by the literary and art front, which prioritised propaganda and slogans over artistic expression (Huang 2011: 392). However, Wen’s works resonated with the Chinese government in 1956 because they highlighted the injustices faced by people under colonial rule, presented as a unique perspective of overseas Chinese artists.
Let us now focus on Bright is the Moon over My Hometown. Wen Peor’s sketch (1956, Figure 13) during his visit to Meixian offers insight into the inspiration behind his works. The presence of a tree in the sketch at its centre serves as a focal point, perhaps symbolising stability, growth, and rootedness in one’s homeland. As discussed earlier, in his paintings, nature is not a background to serve the activities of human beings, but a defining character. Human beings and human-made objects are sometimes disproportionately small. When the scene is serene and people’s lives are peaceful, Wen would depict the trees with full vitality. Wen portrays various types of trees spreading across the canvas in all directions. The trees act as shelter for the villagers, providing a sense of security and protection. Their shining leaves catch the golden light, creating a radiant glow that envelops the surrounding objects. The scene is illuminated by the moon, casting a tranquil and mellow atmosphere over the landscape. The painting appears to be developed from a composite of sketches depicting various scenes, rather than a faithful representation of a specific location in the village, embodying Wen’s personal interpretation, emotions, and aspirations for his ideal homeland—a place free from suffering where different elements harmoniously coexist.
Figure 13.
Wen Peor, Rural Landscape in Meixian, Guangdong. Sketch on paper. 24 cm × 27 cm. 1956. Wen’s family collection, Hong Kong.
This sketch depicts a quiet countryside in soft pencil strokes, showcasing rustic buildings and grazing animals. The presence of a tree in the sketch at its centre place serves as a focal point.
Interestingly, when Bright is the Moon over My Hometown was exhibited again in 2017 as part of a government exhibition, it was interpreted under the theme ‘Senandung ibu pertiwi’ (Motherland’s lullaby), with the motherland referring to Indonesia in the context of the exhibition.9 This exhibition underscores shifting narratives around identity, belonging, and national pride, reflecting Indonesia’s evolving approach to its multicultural heritage and to the contributions of Chinese-Indonesian artists. Scholars like Ariel Heryanto argue that the post-Suharto era has seen greater efforts to reconcile with the country’s pluralistic heritage, aiming to integrate ethnic Chinese history and culture more visibly within Indonesian society (Heryanto 2015: 102–20). The reinterpretation demonstrates how cultural symbols can adapt and find new meanings within shifting national contexts.
When Wen arrived in China again in 1966, the situation was starkly different from his earlier visits. Lembaga Seniman Yin Hua had disintegrated, and for the few members who chose to relocate to China, adapting proved challenging, leading to their marginalisation. For example, Yap Thay Hwa, the former Vice President of Lembaga Seniman Yin Hua, encountered unexpected complications upon his return, realising that the support and organisation he had anticipated were not available.10
Upon his arrival in China, Wen Peor was promptly assigned to the Farm for Returned Overseas Chinese in Tonghu, Huizhou. From 1966 to 1973, Wen worked primarily as a farm labourer, cultivating barren land alongside other returned overseas Chinese in harsh conditions. Isolated from the art community, he had limited access to creative outlets and little opportunity for personal expression.
Wen’s time on the farm coincided with the height of the Cultural Revolution, a period marked by strict ideological conformity and the expectation that all forms of art should serve the goals of revolutionary fervour and socialist values. Artists who had formerly engaged with social critique or personal expression had limited avenues for creating freely without repercussions (Andrews & Shen 2012: 203–25, Clark 1998: 176–85, Sullivan 1996: 140–60, Wu 2001: 45–67). As previously discussed, Wen’s works aimed for portraying the life situations, will, and vicissitudes of the people in an authentic manner; thus he faced both direct and implicit pressure to conform to the official standards (Liu Manxiang 2007). Wen’s occasional mural painting work, such as his contributions to the Overseas Chinese Building in Beijing in 1969, required him to align his artistry with the state’s ideological expectations, emphasising themes of loyalty, collectivism, and patriotism over the more introspective or socially engaged themes that had defined his work in Indonesia. His artistic voice during these years was restrained, ultimately contributing to the transformation of Wen’s identity, adding layers of endurance, adaptation, and quiet reflection to his artistic journey.
In October 1966, Wen married another Chinese-Indonesian who had relocated to China, and their son, Wen Hai, was born in the 1970s. Later, Wen sought assistance from Wu Zuoren (吳作人, 1908–97) and Xiao Shufang (蕭淑芳, 1911–2005), two prominent artists in China he had met during the 1956 sketching trip. Together, they submitted a request to Premier Zhou Enlai. Wen was eventually reassigned to the Guangdong Art Institute in 1973. His position at the Guangdong Art Institute from 1973 onward would likely have offered him greater freedom than his previous years on the farm, but his artistic expression would still have been subject to the political and ideological restrictions of the time. During the early 1970s, China was transitioning out of the peak years of the Cultural Revolution, and while certain restrictions on artistic production began to relax, the influence of socialist realism and ideological control remained pervasive. Wen’s artistic output during this period reflects this careful balance: while he was able to explore landscapes and themes that resonated with his personal sense of cultural heritage, his works from this time remained broadly aligned with non-controversial, idealised depictions that avoided direct social or political critique, engaging with quieter, more introspective forms.
Despite his longing to reunite with his mother in the 1980s, Wen encountered difficulties obtaining permission to travel to Indonesia from the Chinese government, while Indonesia’s policies aimed to prevent the resurgence of communist ideology made it unwelcoming to individuals like Wen. In this challenging situation, Wen again appealed to the authorities with the assistance of Wu Zuoren and Xiao Shufang, and relocated his family to Hong Kong, where outbound travel was more feasible. Affandi, the renowned artist in Indonesia whom Wen had supported in his youth, learned of Wen’s situation and extended an invitation to him in 1988, at a time when Chinese-language materials were still banned in public in Indonesia, plus the fact that China and Indonesia had no diplomatic ties from October 1967 to August 1990. This marked Wen’s long-awaited return to his homeland after more than two decades. He subsequently divided his time between Hong Kong, Indonesia, and Guangzhou. According to Wen Hai, Wen Peor toughly refused the request of the son of Suharto to collect his works.11 Wen Peor passed away in Hong Kong in 2007 after battling illness.
In his later years, Wen Peor became a figure of quiet introspection, practising reticence and prudence even among close friends and family. Having lived through political persecution, migration, and cultural displacement, Wen likely understood the vulnerability inherent in revisiting the past. This reticence became a way of shielding not only himself but also his former acquaintances and fellow artists who had shared similar experiences, preserving their privacy in an era when even casual conversations could carry unintended consequences. For Wen, art gradually emerged as the primary and safest means of self-expression, transforming his internalised memories, emotions, and reflections into a deeply personal visual language. Wen’s approach to painting also reveals his philosophical outlook on life, one that prioritised acceptance and inner peace over bitterness, adhering to the belief that ‘bad things happen in life, and you don’t really have to complain’ (Mui 2001). The choice to depict serene, idealised scenes may indicate a form of internal healing—an attempt to create a world on canvas that mirrored the peace he sought within himself.
Figure 14.
Wen Peor, Bright is the Moon over My Hometown. Oil on canvas. 102 cm × 133 cm. 1990. Guangdong Art Institute, Guangzhou.
This oil painting utilizes water-soluble oil paint, resulting in a softer, more subdued tone. The brushwork and colours created a dreamlike, misty scene where the contours of objects and people merged into one another, shifting the focus to the natural surroundings rather than human habitation. Additionally, the brightness of the moon was toned down, blending with the lights of the houses and casting a more lifelike glow on the central tree. The trees appear more stylized and tranquil, with a denser, abstract foliage treatment. The bushes next to the tree gradually transition into some dead branches, extending into a gentle hazy blue area.
The discovery of another version of Bright is the Moon over My Hometown by the staff of the Guangdong Art Institute during their preparation for the ‘Exhibition of Outstanding Artworks Celebrating the 60th Anniversary of the Institute’ in 2020 revealed interesting insights into Wen’s artistic vision. In contrast to the first version, this iteration utilised water-soluble oil paint, resulting in a softer, more subdued tone. The brushwork and colours created a dreamlike, misty scene where the contours of objects and people merged into one another, shifting the focus to the natural surroundings rather than human habitation. Additionally, the brightness of the moon was toned down, blending with the lights of the houses and casting a more lifelike glow on the central tree. The trees appear more stylised and tranquil, with a denser, abstract foliage treatment. The bushes next to the tree gradually transition into some dead branches, extending into a gentle hazy blue area.
This version conveys a more contemplative atmosphere, with less dynamism and movement. Instead of portraying a homeland as an all-bright scenario in which he was immersed, Wen created a distance, weaving together reality, fantasy, and destiny in his art, echoing his experience of turbulence and the quest for peace. Wen revisited this motif of ‘homeland’ repeatedly over decades and across different locations, with each version reflecting his shifting thoughts. In Mountain Village in Indonesia (Figure 15), created in 1991, the blending of Chinese and Indonesian landscapes may suggest a transcendent dual homeland. Despite the title referencing Indonesia, this work shares a striking compositional similarity with traditional Chinese landscape paintings, including terraced fields, distant layered mountains, and the organic integration of village dwellings with nature. Bamboo-like forms and layered fields dominate Mountain Village in Indonesia, which aligns visually with elements typically found in Chinese landscapes rather than Indonesian tropical flora. The emphasis on shimmering gold evokes a sense of tropical abundance, which feels imaginative rather than geographically faithful.
Figure 15.
Wen Peor, Mountain Village in Indonesia. Chinese ink and colour and on paper. 103 cm × 64 cm. 1991. Wen’s family collection, Guangzhou.
This Chinese ink and colour painting blends Chinese and Indonesian landscapes, including terraced fields, distant layered mountains, and the organic integration of village dwellings with nature. Bamboo-like forms and layered fields dominate the painting. There is an emphasis on shimmering gold leaves.
After Wen moved to Hong Kong, he took several root-seeking trips to Shanxi and produced prolific works depicting the Yellow River, Loess Plateau, seaside fishing ports, villages, and hardworking farmers, taking on a bright-toned, poetic and symbolic quality. In paintings like Descendant of the Yellow River (1998, Figure 16), farmers are shown bravely confronting powerful waves, accompanied by birds, sunshine, and cheering crowds. Despite the immense force of the waves, there is a sense of dynamic harmony between the farmers and their environment. By harnessing the expressive qualities of Chinese ink painting—its fluidity, spontaneity, and abstraction—Wen invites viewers to explore realms beyond the confines of physical reality. His east-meets-west aesthetic marks a profound transformation in his artistic philosophy, challenging conventional boundaries by merging the delicate washes and textures of traditional Chinese ink with the rich tonal depth and structured compositions characteristic of oil painting. This deliberate layering of techniques, with vivid hues and dynamic forms, creates compositions that pulse with life, departing from the traditional emphasis on negative space in Chinese painting. Unlike artists such as Lin Fengmian (1900–91), who sought to modernise the medium, Wen’s approach leans more toward personal expression, lyrical abstraction, and an exploration of individuality and identity, drawing significant influence from Indonesian art.
Figure 16.
Wen Peor, Son of Yellow River. Chinese ink and colour and on paper. 240 cm × 120 cm. 1999. Wen’s family collection, Guangzhou.
Farmers are shown bravely confronting powerful waves, accompanied by birds, sunshine, and cheering crowds. By harnessing the expressive qualities of Chinese ink painting—its fluidity, spontaneity, and abstraction—this painting merges the delicate washes and textures of traditional Chinese ink with the rich tonal depth and structured compositions characteristic of oil painting.
More and more, the core of his paintings has become a conception, of his ideals and hopes, rather than a direct depiction of life. While Wen’s landscapes may appear decorative and detached from social issues, they can be understood as a form of personal world-building, where Wen reconstructs an idealised vision of China—perhaps an aspirational homeland. At the same time, Wen chose to do practical things such as supporting education in rural areas and investing in national industries. Equally importantly, Wen’s artworks, such as Autumn Woods (1998, Figure 17), serve as poignant reflections of his deep-seated concerns about social issues, particularly those affecting Indonesia’s ethnic Chinese community. Created in the wake of events like the 1998 May Riots in Indonesia—where widespread violence, looting, and targeted attacks devastated the ethnic Chinese population—Autumn Woods encapsulates Wen’s grief, outrage, and empathetic resonance with the suffering of his community.12 Wen transforms the canvas into a medium of protest and remembrance, urging viewers to confront the tragedies and injustice. The painting’s predominant red tones, a colour traditionally associated with passion, strength, and prosperity, take on a darker, almost foreboding quality. The barren trees in the foreground, stripped of leaves and life, evoke a stark sense of desolation. These trees may represent not only the devastation endured by the victims of unrest but also the cultural and social isolation that has historically characterised the experiences of Chinese Indonesians. Through Autumn Woods, Wen channels his personal experiences and broader observations into a work that resonates as both an individual expression and a collective testament to suffering.
Figure 17.
Wen Peor, Autumn Woods. Chinese ink and colour on paper. 62 cm × 152 cm. 1998. Wen’s family collection, Guangzhou.
This painting applies predominant red tones. The hundreds of barren trees in the foreground are stripped of leaves and life. In the background are mountains covered in red, purple and black.
Conclusion
By exploring Wen Peor’s journey, this study aims to shed light on the struggles of transnational individuals ensnared between fixed notions of identity and belonging in the tumultuous 20th century. Often, their narratives are overshadowed by nationalist rhetoric, obscuring the intricacies of their motivations and strategies. Wen Peor’s life and oeuvre offer a pathway toward a more emancipatory comprehension of human identity.
In his early works in Indonesia, Wen embodied ideals of ethnic solidarity and anti-colonial resistance, transcending ethnic boundaries to articulate a unified artistic vision. Wen’s depictions of marginalised communities, anti-colonial narratives, and his alignment with left-wing organisations in Indonesia articulate layered identities and social commitments. His path demonstrates how art became a site for both personal and political expression, reflecting his dual identities as both Chinese and Indonesian. However, his relocation to China as a ‘returned overseas Chinese’ precipitated an existential repositioning—severed from his roots yet unable to fully assimilate into socialist discourse. Unlike his socially charged works in Indonesia, Wen’s paintings in China embody a more introspective approach, shaped by a need to adapt to restrictive state ideologies while continuing to explore themes of cultural belonging and identity.
Unlike those who adopted a strategic self-distancing, Wen’s works exuded optimism and hopefulness, devoid of cold colour palettes or expressions of loneliness or critique. He prioritised colour and energy in his paintings, while contributing to social deeds in daily life. Concurrently, he sought avenues to reengage with what took place in Indonesia. Wen’s migration to China and his later works, which blended cultural symbols from both countries, illustrate how he negotiated his identity within and beyond the boundaries of national affiliation, reflecting how the Cold War and revolutionary movements impacted Chinese diasporic identities and how they developed a transnational sense of belonging shaped by complex political affiliations and loyalties to both China and Indonesia (Zhou 2019). As one of the few artists who relocated to China during that period, Wen Peor’s journey adds depth to the narrative, echoing the experiences of other Southeast Asians who utilised art to explore themes of place, belonging, and cultural memory within the context of political constraints. Moreover, by drawing on China’s traditional landscape aesthetics and imbuing them with a diasporic longing for connection, Wen aligns with an alternative form of modernism rooted in cultural memory and heritage, one that engages with personal and national identity symbolically rather than overtly politically. Stephen Whiteman et al. (2018) explore how artists in Southeast Asia, particularly those navigating post-colonial identities, developed unique forms of modernism rooted in local issues and cultural exchanges within the region. Sabapathy (1996) expands on this by examining how Southeast Asian artists forged their unique modernist movements in response to Western influence, often embedding anti-colonial and nationalist themes in their art. For Wen, involvement in Lekra and other organisations represents a commitment to social practice that transcends stylistic influences from Western art, as his work was more focused on the struggles and resilience of everyday people, embedded in socio-political realities and actively shaping cultural identity. Wen’s approach to painting embodies the cultural hybridity of a diasporic Chinese identity while also engaging deeply with the Indonesian socio-political landscape.
In a condolence message to Wen’s family and friends, Indonesian poet and writer Kusni (2007) recalled that Affandi once emphasised the importance of Wen’s artistic contributions, underscoring the importance of including Wen Peor in crucial discussions. To say Wen Peor was a Chinese artist born in Padang, Indonesia is to confine him to a narrow space. Amid Wen’s resplendent artworks, an examination of his life journey within the historical context reveals how individuals grapple with the awakening, distress, and struggle of cultural identity, as well as the perpetual dialogue with places. Wen Peor’s artistic legacy serves as a reminder that ‘home’ is an ever-evolving, imagined constellation woven from human emotions, cultural memories, and unextinguished hopes for emancipation and belonging. As contemporary society witnesses unprecedented global movements, Wen’s creations acquire heightened relevance, resonating with the voices of those marginalised by historical currents—the displaced and the perpetually mobile.
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1
Lekra, discussed below, became Indonesia’s most influential left-wing cultural organisation, maintaining strong ties with the Indonesian Communist Party (PKI). Advocating for a fusion of art and politics, Lekra emphasised collective creativity and the role of culture in advancing socialist ideals. It actively shaped literature, visual arts, and performance throughout the 1950s and early 1960s. However, after the 1965 anti-communist purges, Lekra was banned, and many of its members faced imprisonment, exile, or execution.
2
Overseas Chinese Farms were agricultural settlements established as part of government initiatives, primarily active from the 1950s to the 1970s. They were designed for labour and ideological reformation, often aligning with state efforts to control and assimilate Chinese communities. From the late 1970s to the 1980s, these farms gradually transitioned from a closed resettlement model to a market-oriented economy.
3
Interview with Wen Hai on 28 July 2022.
4
There are no direct sources confirming a link between the establishment of Lembaga Seniman Yin Hua and the Bandung Conference, held from 18 to 24 April 1955, which aimed to promote Afro–Asian cooperation at a time when Sino–Indonesian relations were at their peak. However, Lee Man Fong attended the conference and produced a sketch of the Chinese delegates, highlighting China’s prominent role in the event (Isabella 2018a: 64).
6
Interview with Chen Xixian and Wen Hai on 21 October 2022.
7
Archival materials from Wen Hai.
8
Interview with Wen Hai on 28 July 2022.
9
Senandung Ibu Pertiwi: Pameran Lukisan Koleksi Istana Kepresidenan Republik Indonesia (2017, Jakarta, Sekretariat Presiden).
10
Interview with Andy L.K. Yip on 8 August 2022.
11
Interview with Wen Hai on 28 July 2022.
12
The anti-ethnic Chinese riots, which occurred from 13 May to 16 May 1998, resulted in the loss of many lives among the ethnic Chinese community and minorities in Jakarta, Medan, and Solo (Surakarta). While Wen left no written records linking the painting to the 1998 May Riots, Chen Xixian and Wen Hai recalled that Wen mentioned this connection in their conversations. Interview with Chen Xixian and Wen Hai on 21 October 2022.
Cite
DOI: 10.5871/jba/013.a19
Published on: 30 May 2025
Volume: 13
Issue: Issue 2
Article view count: 388
Article download count: 25
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© The author(s) 2025. This is an open access article licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 International LicenseCite this article
Sipei, L. & Cenyan, H. (2025), ‘Where is home? Wen Peor’s art and social practice’, Journal of the British Academy, 13(2): a19 https://doi.org/10.5871/jba/013.a19Crossref
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Received
October 2022
Accepted
May 2023
Published
July 2023
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