Ink on paper

70×35 cm. 27 1/2×13 3/4 in.

Inscribed, signed and dated in Chinese with an artist's seal on upper left
PROVENANCE
Acquired directly by Ting Yinyung's student Fat Hing Chan from the artist
Private Collection, Asia

Note: Fat Hing Chan is a renowned Hong Kong artist. He is also named "Fish King".

Clumsy Charm and Energetic Flow
The Ink World of Ting Yinyung

"At its core, Chinese painting, like writing, represents the highest ideals and will of humanity."
— Ting Yinyung

Henri Matisse's most admired Symbolist artist, Gustave Moreau, once taught him that the simpler the method in art, the clearer the feeling. Similarly, in the East, Ting Yinyung's work resonates with that of Moreau and Matisse, making a significant impact on modern art history. Ting studied in Japan at Tokyo University of the Arts from 1921 to 1925, where he was inspired by Impressionism and Fauvism. After returning to China, he coincidentally discovered Chinese ink painting and became deeply attracted, particularly with the works of Bada Shanren. He recognized that many Western masters, including Matisse and Picasso, had drawn inspiration from Eastern art.

On the other hand, Ting highly admired the calligraphy of Song dynasty's Mi Fu and Ming dynasty's Xu Wei. Even during difficult times, he devotedly collected famous ancient scrolls and relentlessly practised calligraphy. He developed a distinctive calligraphic style, and his works have since been acquired by prestigious institutions like the National Palace Museum in Taipei and the Hong Kong Museum of Art. This Autumn, China Guardian Hong Kong presents two of Ting Yinyung's later stage masterpieces: Fury for a Beauty (Lot 33) and Egret (Lot 34) .

Laughter and Scolding, Life as a Play

Ting Yinyung reinterprets traditional Chinese drama with a modern brush in Fury for a Beauty. On the left side of the painting, the figure of the general is magnified, resembling a giant. The bold ink strokes outline his inverted eyebrows and thick beard, vividly depicting his fierce personality. His arms, exaggerated and dynamically painted with wet ink, brandish a spear as he surges forward in a burst of anger. Contrasting this, the beauty stands behind him, clad in a modern, tight long dress with a decorative belt and styled with the signature spoon-shaped hair bun featured in Ting's paintings of noblewomen. She clutches the general's right arm, seemingly offering advice, highlighting her calm resilience. This striking juxtaposition challenges the traditional portrayals of delicate beauties and heroic figures.

Egret at Leisure, a Liberated Spirit
Egret is a stunning demonstration of Ting's dual mastery of calligraphy and painting. On the left side, he playfully reinterprets Su Shi's Ode to the Red Cliffs, transforming the phrase "crossing on a reed" to "following a reed into error." This adaptation symbolises navigating through life's currents in a small boat, maintaining optimism even when off course. Ting creatively shifts the character for "wind" (風) to the left within the word "floating,"(飄) suggesting that wind, emblematic of freedom, should not be confined, thereby infusing the piece with a wry humour. His technique with the centre tip brush is both robust and vigorous, producing a distinct rhythmic elegance amid the dynamic strokes, offering a contemporary take on traditional calligraphy.

To the right, Ting animates the egret with fluid, gracefully exaggerated lines that capture the bird's playful and vibrant essence. The egret's pupils look defiantly upwards, exuding the noble isolation often seen in animals portrayed by Bada Shanren. Yet, unlike Bada's severe style, Ting's egret radiates a youthful innocence. Together with the adapted text, the image conveys a message of sustaining a liberated and untainted spirit in the face of life's challenges, epitomising a profound openness.

Price estimate:
HKD 12,000 – 25,000
USD 1,500 – 3,200

Auction Result:
HKD: 36,000