Page 303 - 亚洲二十世纪及当代艺术

fruits weighing down the branches, metaphorically representing nine years, until his shadow penetrated
the modest and reclusive hermit’s demeanour. The two trees the stone, leaving behind a legendary
complement each other, creating various postures and a sense tale for future generations. Dharma
of ritual. The rock formations on the riverbank are not rendered rejected the temptations of power and
with excessive texture, but simply outlined, revealing a rustic wealth, turned around and meditated,
and straightforward charm. In addition, two bold and powerful observing the wall alone, and attained
ink lines create a continuous range of undulating mountains in enlightenment, enlightening future
the distance, using varying shades of ink to demonstrate depth. generations. This recalls Ting’s journey
The boat on the left side of the river is depicted from an unusual to Hong Kong alone in his middle age,
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breaking the limitations of a single perspective. In this work, across the strait and a life of frugality
Ting pushes the ancient literati’s concept of “strangeness” to the and hardship yet persevering in his
extreme, showcasing his astonishing avant-garde style. pursuit of artistic excellence. It also
evokes his compassionate spirit in
On the left side of the painting, he whimsically inscribes: “Huang caring for his students and imparting
Gong travels to cloud forest, takes a boat to come, a million his knowledge generously and
mountains reveal smiling faces, all of nature becomes painting unreservedly, which is truly moving!
material.” According to research, this is a tribute to the life
experience of Huang Gongwang, the leader of the “Four Masters Unrelenting Cultivation: The Silent
of the Yuan Dynasty”: his career did not go smoothly, and he Contribution of an Aged and Diligent
eventually chose to become a monk and live in seclusion, taking Ox
nature as his teacher and seeking inspiration from observing and In his later years, Ting Yinyung
painting landscapes, eventually becoming a master in his field. remained passionate about expanding
Unlike the cold and desolate atmosphere conveyed in the works the subjects of his paintings. In
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of Shi Tao and others, Ting’s works from this period are filled with addition to landscapes, flowers ɕ ࠃ ੱ  ঁ ˬ ‘ €ש ۜ ᇜ ໮ 81 
a bright and open spirit, as if one can feel the pleasant breeze and birds, and figures, he began to
brushing against their face when drifting along the river. It fully take an interest in painting animals such as oxen, horses, and
reflects his optimistic and carefree attitude in his later years, and sheep. However, works cantered around oxen are particularly
invigorates the viewer’s spirit. rare, with fewer than five pieces featured in auctions over the
The Serene Meditation: the Strong and Robust Red-Robed past thirty years. The present artwork, Ox, stands out as a rare
Da Mo representative of this subject matter. This expressive masterpiece
is boldly executed, with Ting using vigorous brushstrokes to
Da Mo Meditation is a Buddhist theme that Ting Yinyung greatly outline an old ox resting on the ground. The cow’s oval-shaped
favoured. It was exhibited for the first time in 1998 at the Plum eyes evoke the shape of ancient bronze cow sculptures that Ting
Blossoms Gallery in Hong Kong during the Ting Yinyung Exhibition enjoyed studying, revealing a return to primitive innocence. The
and has been carefully preserved for decades, making it crescent-shaped horns are painted with minimalistic patterns
particularly rare. In the painting, Ting exaggeratedly enlarges the resembling a child’s imagination, full of the playful spirit of past
upper body proportions of Da Mo, highlighting his round eyes, and present. Ting carefully adds lighter ink strokes to depict the
protruding eyebrows, broad nose with many whiskers, and high “ ʇ ” shaped fur on the ox’s face, and layers of ink wash on its
forehead. With powerful brushwork and confident and concise limbs and back, not only showing the volume of the cow’s body but
lines, Ting directly outlines Da Mo’s facial features, capturing his also conveying the soft texture of its fur. Especially noteworthy
characteristics with full spirit. He then uses pointillism to depict is the protruding and rugged spine, which Ting portrays using
the curly and dense beard of the figure. With a sweeping stroke, white brushstrokes, resembling towering mountains that bear the
he quickly outlines the posture of the main character, sitting baptism of time, as well as the selfless and dedicated heart of the
cross-legged with folded hands, as well as the waist belt wrapped ox.
around him, with clean and concise lines flowing freely. The fiery
red robe is radiant but not vulgar, reminiscent of the Fauvist use Ting Yinyung had a special affinity with “ox.” In addition to Bada
of colour, reminiscent of Henri Matisse. From composition, lines, Shanren and Shi Tao, two well-known Chinese painters, Ting also
to colours, Ting demonstrates his unique method of blending had a special fondness for the works of his younger brother Niu
Eastern and Western styles, capturing the solemn and intriguing Shihui. He not only collected Niu’s ancient paintings and seals
appearance of Da Mo’s dharma aspect with just a few strokes. but also used the pseudonym “Niu Jun” (Lord Niu) and engraved
private seals with the characters “Niu Jun” and “Niu Jun’s Seal.”
Ting Yinyung’s interpretation of the Buddhist figure Dharma,
depicted as a contemplative figure wearing a red robe and It can be said that “ox” became Ting’s self-identifying symbol. In
standing at an angle, is inspired by the legend of Dharma’s 1978, shortly after retiring from the Chinese University of Hong
Crossing the River and Facing the Wall. According to the legend, Kong’s Department of Fine Arts, Ting passed away. The painting
Bodhidharma, while teaching Emperor Wu, found him resistant Ox, created in his final year of life, portrays his lifelong struggles
and unenlightened. Therefore, he crossed the river and went north and hardships. It brings to mind Ting’s decades of arduous pursuit
to Mount Song, where he sat facing a wall in deep meditation for of art and his moral and spiritual dedication, silently toiling until
the end of his life without seeking rewards.
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