Page 302 - 亚洲二十世纪及当代艺术

Ting Yinyung, known as one of the “Three Great Masters of and thick whiskers. In
Guangdong” along with Guan Liang and Lin Fengmian, studied contrast, he depicts Yu Ji
in Japan in 1921 and was deeply influenced by the Fauvism and with a restrained brushwork,
Impressionism movements. After returning to China in 1925, he harmoniously sketching
became a prominent figure in the Chinese “Western Painting her hair in a bun with a
Movement”. While studying lines, he encountered Chinese spoon-shaped brushstroke,
literati painting and felt the profound essence of focusing not and depicting her slightly
on resemblance but on “likeness to the spirit”, which greatly furrowed willow eyebrows
inspired and impressed him. Among the artists he admired, and resolute almond eyes ɕ ࠃ ੱ  ༺ ᅙ ‘ €ש ۜ ᇜ ໮ 80 
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Bada Shanren and Shi Tao’s paintings were highly esteemed by with rounded and delicate
him. Realizing the charm of traditional Chinese painting, Ting lines, demonstrating the duality of the woman’s gracefulness
became captivated and devoted himself to the exploration of and heroism, and making the different personalities of the
ink painting. characters pop out on the paper with just his brushwork in a
minimalist composition. This is a state of mind that cannot
In the 1970s, he entered a mature stage of creativity, not only be attained without decades of profound skills, and it makes
painting a wide range of subjects, but also mastering a bold one applaud him. Ting went to Hong Kong alone in his middle
and innovative ink brushwork, which earned him international age, separated from his family and lived a life of frugality
acclaim during this period. In 1974, Ting’s paintings were and poverty. He insisted on the pursuit of art in the midst of
exhibited in major universities in the United States, including hardship. When he created this work at the age of 76, he was
Yale University. He was also invited to the annual exhibition of surely reminded of the opera Farewell My Concubine, where
the Nihon Nangain Exhibition in Japan in the same year. In the the farewell scene of the protagonist resembles the pain of
following years, from 1975 to 1977, he visited Melbourne for the separation of Ting’s flesh and blood. However, just like
exhibitions, causing a sensation internationally. Farewell My the great Xiang Yu, he made a breakthrough and took a hard
Concubine (Lot 79), Landscape (Lot 78), Da Mo Meditation (Lot push to move forward, and his lifelong pursuit of artistic ideals
80) and Ox (Lot 81) presented in this autumn auction were all ultimately left a colourful mark in the history of art, which
completed in the 1970s, showcasing his mature and skilled makes this work particularly appealing.
style and testifying to his extraordinary achievements in
diverse subjects such as landscapes, figures, and animals. Uncompromising Integrity: a Grand and Expressive
Landscape Painting that Combines Tradition with
Farewell My Concubine: a Magnificent Song of Generosity
Innovation
The large-scale Farewell My Concubine is based on the classic The Qing dynasty artist Shi Tao, whom Ting Yinyung admired,
Peking Opera, an iconic theme of Ting’s work in the 1970s. In advocated for standing above tradition with an innovative
the painting, Xiang Yu, clad in gold armour, holding a sword in spirit. After traveling through mountains and rivers for more
his left hand and a spear in his right, with his eyes open and than ten years, Shi Tao honed his unique style of landscape
his hair standing on end in anger, seems to be in a desperate painting. His paintings showcase steep mountain cliffs,
situation, bursting into a terrifying fury and fighting with peculiar and ancient pine trees, and a strong and simple
courage and generosity. Yu Ji, on the other hand, is graceful artistic approach that “originates from the mountains but forms
and elegant, not wearing the ancient costume of wide robes my own method”. Ting shared a common vision with Shi Tao
and big sleeves, but a modern green dress that fits her body and undisputedly shouldered the banner of Chinese artistic
well. Her eyebrows show a look of courage and determination, innovation, advocating for surpassing traditional conventions
leaning on the arm of the king with her right hand, as if and reflecting the era’s zeitgeist. He interpreted Chinese brush
determined to die, with a bravado that is no less than that of and ink with a more minimalist and unrestrained approach
Xiang Yu’s.
influenced by Fauvism, creating a joyous and novel artistic
In this work, Ting has demonstrated a sophisticated use of the conception.
brush, using bold splashes of ink to depict Xiang Yu’s powerful In the painting Landscape, Ting uses skilful and artless lines to
arms, while using simple and concise thick ink and heavy depict a towering pine tree on the right, a well-arranged range
colours to outline the exaggerated round eyes, thick eyebrows,
of mountains, riverside landscapes, humble thatched cottages,
and plain-dressed residents, all tinged with a light sienna
colour, creating a picturesque village scene reminiscent of the
fabled “Peach Blossom Spring”. On the left, a vast expanse of
blank space represents the boundless expanse of the river,
exemplifying the idea of “Seeing the Tao from Emptiness”. In
the centre of the painting, the upright pine tree is drawn with
lines as its backbone, using short and solid brushstrokes to
depict the pine branches and rough and wining trunk, fully
displaying its simple and unadorned nature. The emphasis is
on capturing the spirit rather than pursuing realism. On the left,
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