Western influence can clearly be detected in Peng Jian’s Still Life. The rigour and meticulousness of his composition is reminiscent of Raphael, whilst the beauty of his pursuit of colour and order is reminiscent of Cézanne. However, in Peng Jian, behind the flat images there is a touch of oriental humanism. The work focuses on the use of lines as a form of objective depiction, and the colouring is relaxed and poised. The artist is sensitive to subtle changes in the state of objects, and then unfolds it directly into a flat abstraction. There is a very real sense of reality hidden in the impression of transformation, asserting colour as an intuitive phenomenon. The colour in the work has a temperature, and as time and light changes, so too does the colour. As the light alters, and time passes, a vague and mysterious atmosphere is faintly born under the clear blue background. Phantom of the Bottle is a continuation of this Still Life series, prompting a focus on the integrity and richness of the internal structure of the object.

彭劍關於《靜物》的寫生研究，很明顯能看出受到西方藝術的影響，其在構圖上的嚴謹與細緻讓人想起文藝復興時期的拉斐爾，在對色彩與秩序的追求中又讓人聯想到塞尚。但是不同的是，在平面化的圖像背後有著一點東方自然人文主義的溫度。作品中注重用線條來表現研究物件的造型特點，設色輕鬆淡雅，藝術家非常敏感的捕捉到不同事物之間真實狀態下的微妙變化再以一種平面性的語言直敘展開，讓作品在抽象化的印象中隱藏著一股非常具有現實力量的真實感。如果線條是作品中隱性的捉摸不定的因素，那麼顏色就是作品最為直觀的現象感受，作品中的色彩是具有溫度的，猶如置於光線之下的真實場景，隨著時間的變化，顏色也隨之變幻，作品中呈現了這種美妙的時間美感，將真實的本色與光之下的錯覺既矛盾又完美合為一體，並在通徹的藍色背景之下隱隱的生出隱晦而神秘的氛圍。而《賦影》像是《靜物》系列的一版番外，促使觀眾的視野更加聚焦物體內部結構的完整與豐富。