Ink on paper

29.5 × 253 cm. 11 5/8 × 99 5/8 in..

Inscribed, dated and signed in Chinese with an artist's seal on the left
PROVENANCE
Li Yuhuang, a disciple of Ting Yinyung, received as a gift directly from the artist
Private Collection, Asia

Assimilating Foreign Influences, Unique Style and Rhythm
‘Foreign Bada Shanren'- The Appeal of Ting Yinyung's Ink and Colour Paintings

Ting Yinyung (1902-1978) officially started studying Chinese painting in 1929 and thereafter was active in the Shanghai art world, during which time he interacted with many members of the Shanghai School of painters, but was most influenced by Wu Changshuo (1844-1927). Indeed, whether in terms of composition or calligraphic style, one can clearly see the flowing brushwork of Wu's cursive strokes in Ting's early works from the 1940s. Moreover, Ting was particularly enamored of the poems Wu inscribed on his paintings and every time he painted loquat always included lines from Wu's poems. “The Poetic Expression of Wu Changshuo” (Lot 41) is an excellent example of this practice. In this piece, the poem and painting are inseparable and complement each other exquisitely, with content and form presenting an excellent example of the aesthetic principle wherein “painting and calligraphy share the same origins.” On the right of the work, two loquats stand tall and upright, with the artist using changes in the thickness of the ink to create space, while on the left there is a classical painting inscribed poem by Wu Changshuo. This suggests it is not right to boast of the lifelikeness of ones paintings, one should rather use the way in which children react to seeing them as an indication of consummate painting skill. As an approach of great intrigue this also lacks self-boastfulness this is truly clever and masterful.

1960s: A Casual but Peerless Work
From the mid-1950s to the late 1960s, Ting's brushwork was deeply influenced by Bada Shanren (1626-1705), the rich and round strokes concealing a more pointed character beneath a seemingly mellow appearance. For example, in Frog and Bird in Lotus Pond (Lot 40), the artist depicts the toughness and tenacity of thin slender lotus stems with powerful and vigorous strokes. These soar heavenward, imbued with an indomitable gracefulness that showcases the ebullient life vitality of the lotus at the height of summer. In the shade of the lotus leaves, there are two frogs, one moving, one still, quick-witted and innocent. The two albatrosses in the lower part of the work are composed from connected dot strokes, an ingenious allusion to the texture of their downy feathers, creating a lotus pond scene replete with a sense of harmony and tranquility.

The 1962 work Scroll of Animals and Pomegranate (Lot 38) collected by Li Yuhuang, a student of Ting, goes even further in highlighting the stylistic features that marked Ting Yinyung's embrace of freehand ink painting. Ink painting hand scrolls by Ting are extremely rare and provide viewers with the special experience of “viewing while moving.” From right to left this hand scroll can be sequentially divided into different elements: lotus flowers and frogs, a tabby cat lying on a rock, two birds on a pomegranate and a poem, a collection of the artist's classic motifs, with equal focus given to poetry and painting. Moreover, the simple strokes and complex meaning speak to Ting's extensive reflections on and well honed skill at managing space in his paintings. The cat is fast asleep on a rock surrounded by lotus flowers, its back arched, eyes tightly closed and a look of contentment on its face, as if enjoying a wonderful dream. The simple flowing lines of the flowers and branches guide the viewer's line of sight on a journey through the work, and the large area left blank creates space in the painting for reflection. The ripe pomegranates appear ready to fall to the ground, indicating the rich harvest of fruit, while the ode at the end of the scroll echoes the forthright sincerity of the scene. It overflows with the poetry and vigor found in the details of daily life, together with a humor that cannot but bring a smile to the face of viewers.

1970s: Capturing the Essence of Perfection
Ting Yinyung's art matured during the 1970s, with the artist's use of color in character paintings particularly rich and varied. This highlights Ting's distinctive character and is often considered the greatest achievement of his later artistic career. The 1978 work Zhong Kui (Lot 39) conveys a sense of humor and appeal, with artistic refinement applied to what superficially appears to be childish naivety. In the painting, large dry dark ink stokes are used to depict the boat, under which a few casual wavy lines represent the waves, with color thereafter applied based on subject. Zhong Kui stands in the middle of the picture, his distorted and exaggerated body clearly influenced by the work of Bada Shanren while also pursuing the creative essence Ting followed throughout his career – spirit before form, with an equal emphasis on form and spirit. The combination of a sense of fun with a hint of Buddhism ensures the awe-inspiring righteousness of Zhong Kui jumps from the paper. Although in most works that address this motif Zhong has a powerful physique, in this work he has long slender arms, almost like a youthful scholar, but the lines of the dagger he holds aloft in his right hand are brisk and neat, while the disdainful look in his cold eyes is a weapon to subdue demons and monsters. If we contrast the painting and the poem then they showcase the fearless spirit of officials/literati as they pursue their beliefs. On the right of the work is Zhong Kui's sister who also appears naked, a truly inspired touch as it fills the work with a sense of modernism and expressiveness. The thick colors of the demons' bodies ensure they stand out, while the collision of traditional ink brushwork and Western boldness, in the naked bodies and saturation of color, creates modernist sparks.

In the last work Ting painted it is very difficult to discern any sense of loneliness in the artist, despite the fact he lived alone for 30 years. We see only his passion for life, pursuit of beauty and disdain for or mockery of social injustice. Ultimately, it is this blessing that the ink art of Ting Yinyung bequeaths to later generations.

Price estimate:
HKD: 120,000 – 320,000
USD: 15,500 – 41,300

Auction Result:
HKD: 448,400