香港大學（港大）美術博物館榮幸呈獻「困乏多情 香江藝緣：丁衍庸的中西藝術」展覽，回顧丁公眾多作品，以茲紀念其誕辰120周年。#丁衍庸 (1902─1978)，廣東茂名縣人，於1920年代初在東京美術學校學習西畫，並於1925年回國。1949 年，他移居香港，繼續創作及實踐其藝術理念。
The University Museum and Art Gallery (UMAG) of the University of Hong Kong (HKU), is honoured to present Enduring Strength and Passion: The Chinese and Western Art of Ting Yin Yung, a retrospective exhibition of Master Ting’s multifaceted work in commemoration of his 120th anniversary. A native of Maoming county in Guangdong province, #TingYinYung (1902–1978) studied Western painting in Tokyo at the Tokyo School of Fine Arts in the early 1920s. He returned to Mainland China in 1925 and emigrated to Hong Kong in 1949, where he further developed his artistic practice.
Why it matters:
丁公畫風不拘一格。他善繪人物，受西方現代藝術影響，多以簡約為主。他所繪的人物神髓，除活現形狀和體積、具立體主義特色外，鮮艷的色彩及其強烈的對比，亦表現出野獸派的特徵。他的繪畫作品融貫中西，蘊含歐洲 #現代主義 和中國 #水墨畫 的技術和風格。丁公藝術風格亦趨簡約，用色濃淡有致，筆隨意轉，另獨特的「一筆畫」赫赫有名。其能巧妙運用線條、留白和空間，為近現代 #中國水墨 畫畫壇作出重大貢獻。
Ting’s painterly styles vary widely. He excelled at figure paintings and abstract depictions that are indicative of Western influence. His figures bring to mind his study of form and volume—a principal of Cubism—whereas other works are rendered in strong and contrasting colours—a characteristic of Fauvism. Master Ting consistently aimed to reconcile the techniques and characteristics of Western and Chinese approaches to painting. Ting’s artistic style is noteworthy for its simplicity and nuanced saturation of pigments. The remarkable one-stroke technique showcased the mastery of Ting’s own style. His use of line, void and space exemplifies his contribution to the formulation of a modern Chinese style.
Ting’s view on Eastern and Western art: ‘Eastern art is philosophical and emphasises the human spirit and its meanings. Western art is scientific; it focuses on forms and ignores the human spirit.’ ‘I want to draw Western paintings using Chinese brushstrokes and ink.’
Background – Ting Yin Yung:
Born on 15 April 1902 in Xieji (currently Gaozhou), Maoming County in Guangdong and passed away on 23 December 1978 at St. Teresa’s Hospital in Hong Kong. In his pursuit to bridge Eastern and Western artistic traditions, Ting belonged to the first generation of Chinese artists to explore new expressions and absorb Western concepts, such as Impressionism, Fauvism and Abstract Expressionism which he was exposed to during his studies at the Tokyo Fine Arts School from 1921 to 1925. After returning to China, he continued to develop his oil painting skills and established art societies with like-minded artists, such as Chen Baoyi, Guan Liang, Chen Shuren, Gao Jianfu, and Ni Yide, to promote new and progressive artistic visions. In 1928, he participated in the preparatory work for the Guangzhou Municipal Museum(currently Guangzhou Museum) and remained there for a long time. During this period, he learned about traditional Chinese paintings, calligraphy and antiquities and became interested in the paintings of Bada Shanren and Shi Tao, which inspired Ting to start painting in the traditional shuimo (ink) style. After settling in Hong Kong in1949, he continued to paint in both oil and ink paintings. Most notably, he incorporated ancient scripts, such as those found in oracle bones, into his oil paintings, thereby developing his own unique artistic language. In the nation’s quest to modernize Chinese art, Ting was one of the first to realize that for any new art to be truly transformative, one needed to draw upon the modern elements inherent in Chinese traditional art. With this in mind, he took up seal carving that draws upon the modern, at times minimalist, elements of both Eastern and Western traditions.
Enduring Strength and Passion: The Chinese and Western Art of Ting Yin Yung
2022.11.2 – 2023.2.26
1/F T. T. Tsui Building, University Museum and Art Gallery, The University of Hong Kong, 90 Bonham Road, Pokfulam, Hong Kong (Please enter via the Fung Ping Shan Building)
Image Courtesy of the University Museum and Art Gallery, HKU 香港大學美術博物館