Exhibition Booklet of Walking Their Own Paths: Women Calligraphers in Contemporary Taiwan 盧慧紋，自由自在：臺灣當代女性書藝展，展覽小冊
2025
'Essence Ablution: Inks, Brushes and Embodiment of Yuan Hui-Li’s Shanshui Painting', THE Curatorial Statement BY Bo-Chen SHENG FOR yUAN'S SOLO EXHIBITION IN KMFA.
沈伯丞，〈元漱_袁慧莉的身•筆•墨〉策展論述，收錄於2024畫冊。
2024
Focusing on artist Yuan Hui-Li's artistic strategy of engaging in response and challenging the traditions of ink painting from its foundations, the curatorial project " Essence Ablution: Inks, Brushes and Embodiment of Yuan Hui-Li’s Shanshui Painting " seeks to showcase the multifaceted aspects of the creator's reconstruction of the ink painting system. Additionally, it aims to demonstrate how the artist's "feminine writing" effectively reorients viewers to once again contemplate the response of "women's painting and calligraphy" to traditional artistic contemplation and contemporary aesthetic postures.
著眼於藝術家袁慧莉從基礎處進行與水墨傳統的對話與挑戰的藝術策略，策展計畫《元漱＿袁慧莉的身・筆・墨》，嘗試展現出創作者對於水墨系統重構的各個面向，以及藝術家的「陰性書寫」如何有效地的重新引領觀者再一次凝視「女子書畫」對於傳統藝術凝思與當代美學身姿的回應。
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著眼於藝術家袁慧莉從基礎處進行與水墨傳統的對話與挑戰的藝術策略，策展計畫《元漱＿袁慧莉的身・筆・墨》，嘗試展現出創作者對於水墨系統重構的各個面向，以及藝術家的「陰性書寫」如何有效地的重新引領觀者再一次凝視「女子書畫」對於傳統藝術凝思與當代美學身姿的回應。
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Featured in "Infinite ephemeral: Contemporary Women's Art in Taiwan 2003-2023", authored by Professor Chen Ming-Hui. Published.
被寫入陳明惠教授著作《無窮的瞬間：臺灣當代女性藝術2003-2023》
2024
'Mending the Heavens With Sentiment_On Yuan Hui-Li’s Reshaping of Shanshui', writed by Shih Shou-Chien, Published in catalogue in 2022.
石守謙，〈以情補天_談袁慧莉的山水重構〉，收錄於2022畫冊。
...Yuan’s intimate connection to Dream of the Red Chamber immediately calls to mind her gender consciousness. This emphasis on the texturizing of heartfelt sentiments is a conscious subversion of the traditional texturization system, through which the artist intends to create a sentient world, like that in Dream of the Red Chamber, which would resonate with her.
...She does not intend to vie for pedagogical authority with this manual of texturizing strokes, but simply to voice her own artistic assertions. She recognizes the reality of her own oppression, and the true rationale behind this effort is inextricable from the positions of inferiority to which female artists have been relegated in the cultural world. Manual of Yuan’s Texturizing Strokes and all of her lament-filled figurations aim to subvert male subjectivity. Even now, in the 21st century, Yuan’s proposal of a manual of texturizing strokes can still be regarded as an exceptional act of gender consciousness in the world of ink painting.
...Yuan shifts away from the classical “three distances” schemas, and eschews Western spatial perspectives to return to an expression of distance using superimposed layers. In this manner, she shuns millennia of shanshui painting history, and returns to a primal schema that preexisted the establishment of shanshui painting. Mountains are divided by distinct lines in Yuan’s work, the most uncomplicated composition only seen in Han-dynasty murals.
...袁慧莉與《紅樓夢》間的密切關係不禁讓人想起她的性別意識，如此強調「自心而生，從情而起」的「情皴」，也該算是對傳統自然皴法系統的有意識顛覆，而其目標則是如《紅樓夢》那樣，重建一個自己可以認同的有情世界。
...她的這個皴譜意不在爭取教學的權威，而僅僅是為自己的藝術主張發聲。那是她自認受到壓抑的事實，而背後的真實原因則與女性藝術家在我們文化世界中的劣勢地位脫不了關係。《袁氏皴譜》以及她所有充滿悲情的形象全是為了顛覆那個男性主體的存在。即使是到了二十一世紀的今天，袁慧莉的皴譜提出，仍可算是水墨世界中最具性別意識的行動。
...袁慧莉跳過像「三遠」等的古典圖式，也沒有來自西方的空間透視，卻返回了以疊壓表示前後距離的方式，這就是跳過了千年的山水畫史歷程，返回山水畫成立之前的原始圖式。畫面上十分顯眼的條紋式分割山體，也是最素樸的結構，僅見於漢代的壁畫之上。
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...She does not intend to vie for pedagogical authority with this manual of texturizing strokes, but simply to voice her own artistic assertions. She recognizes the reality of her own oppression, and the true rationale behind this effort is inextricable from the positions of inferiority to which female artists have been relegated in the cultural world. Manual of Yuan’s Texturizing Strokes and all of her lament-filled figurations aim to subvert male subjectivity. Even now, in the 21st century, Yuan’s proposal of a manual of texturizing strokes can still be regarded as an exceptional act of gender consciousness in the world of ink painting.
...Yuan shifts away from the classical “three distances” schemas, and eschews Western spatial perspectives to return to an expression of distance using superimposed layers. In this manner, she shuns millennia of shanshui painting history, and returns to a primal schema that preexisted the establishment of shanshui painting. Mountains are divided by distinct lines in Yuan’s work, the most uncomplicated composition only seen in Han-dynasty murals.
...袁慧莉與《紅樓夢》間的密切關係不禁讓人想起她的性別意識，如此強調「自心而生，從情而起」的「情皴」，也該算是對傳統自然皴法系統的有意識顛覆，而其目標則是如《紅樓夢》那樣，重建一個自己可以認同的有情世界。
...她的這個皴譜意不在爭取教學的權威，而僅僅是為自己的藝術主張發聲。那是她自認受到壓抑的事實，而背後的真實原因則與女性藝術家在我們文化世界中的劣勢地位脫不了關係。《袁氏皴譜》以及她所有充滿悲情的形象全是為了顛覆那個男性主體的存在。即使是到了二十一世紀的今天，袁慧莉的皴譜提出，仍可算是水墨世界中最具性別意識的行動。
...袁慧莉跳過像「三遠」等的古典圖式，也沒有來自西方的空間透視，卻返回了以疊壓表示前後距離的方式，這就是跳過了千年的山水畫史歷程，返回山水畫成立之前的原始圖式。畫面上十分顯眼的條紋式分割山體，也是最素樸的結構，僅見於漢代的壁畫之上。
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'Manual of Yuan’s Texturizing Strokes and Her Writings', Write by Wu Chao-Ran
吳超然，〈《袁氏皴譜》與她的書寫〉，收錄於2022畫冊。
2021
In this sense, the Manual of Yuan’s Texturizing Strokes highlights the profound act of dismantling for the purpose of reconstruction. Is it necessary for an artist to make such an effort to construct her own creative theory? Judging from Yuan’s explorations over the past three decades, I think the answer is a resounding yes. Ink painting artists of various styles and characteristics certainly have their own artistic response, but Yuan Hui-Li has completed a body of work that satisfies both theory and practice through her astounding will and diligence.
《袁氏皴譜》在這層意義之下，就凸顯了「拆解是為了重構」的深刻意義。一位創作者，有沒有必要花那麼大的力氣，去建構一套自己的創作理論？從袁慧莉過去近30年的探索，我想，答案應該是肯定的。不同類型、氣質的水墨創作者，必然有他/她們的回應，但是她以驚人的意志與勤奮，完成了這一批在理論與實踐上兼具的作品。
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《袁氏皴譜》在這層意義之下，就凸顯了「拆解是為了重構」的深刻意義。一位創作者，有沒有必要花那麼大的力氣，去建構一套自己的創作理論？從袁慧莉過去近30年的探索，我想，答案應該是肯定的。不同類型、氣質的水墨創作者，必然有他/她們的回應，但是她以驚人的意志與勤奮，完成了這一批在理論與實踐上兼具的作品。
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'From the material properties of boulders to the materialized landscape: the Pluralistic World of Yuan Hui Li', writed by Moon Jung-hee(Art Historian, Korean Center for Art Studies)
文貞姬，〈從山石的物性到山水的物化：袁慧莉的複數世界〉，收錄於2014個展畫冊。
2014
…in Yuan Hui-Li’s Discrete Islands series, rocks are an embodiment of illusion, and are a “specific object” (in the words of Donald Judd (1928-1994)). Between itself and the world, there is a natural and unobtrusive reflection herein…. her illusionary rocks move a step further into a liberated object nature, transcending and in mutual exchange with the conscious world of humans…. , but transcends the material representation and illusionary form of the rock, enabling the rock to contain a reading with increased possibilities, and extending the interpretive space for the concept of rocks, elevating and transforming the realm of landscapes to a brand new territory.
在袁慧莉的《孤山水》系列作品中，山石是做為幻覺的物性，且為一種「特殊的對象」（specific object, Donald Judd (1928-1994)用語），而在其中，它與世界兩者之間，自然且不唐突地照應之。在2010年袁慧莉的《流形生發》系列，可以看到她將幻覺的石頭假象，更進一步跨入一個自由的物性本質，超越地和人類的知覺世界互相交流著，特別是此作品，以宣紙上的礦物顏料影射了石頭的物之本質，
卻超越了石頭的物質性表象和幻覺假象，使石頭包容了更多可能性的解讀，擴延了石頭概念的詮釋空間，使山水畫境界提升變化到另外一個新的領域。
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在袁慧莉的《孤山水》系列作品中，山石是做為幻覺的物性，且為一種「特殊的對象」（specific object, Donald Judd (1928-1994)用語），而在其中，它與世界兩者之間，自然且不唐突地照應之。在2010年袁慧莉的《流形生發》系列，可以看到她將幻覺的石頭假象，更進一步跨入一個自由的物性本質，超越地和人類的知覺世界互相交流著，特別是此作品，以宣紙上的礦物顏料影射了石頭的物之本質，
卻超越了石頭的物質性表象和幻覺假象，使石頭包容了更多可能性的解讀，擴延了石頭概念的詮釋空間，使山水畫境界提升變化到另外一個新的領域。
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