Ink and colour on paper

69 × 40 cm. 27 1/8 × 15 3/4 in.

Inscribed, titled, and signed in Chinese, dated 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".

The Beauty of the Times Under the Lyrical Brush of Inkwork
Ting Yinyung’s Return and Innovation

"There is a context for a time; there is a zeitgeist in a time that shines utterly different from that of any other times, which is something known to all. Art is a product of time and sometimes even stands before time, leading the society forward."
——Ting Yinyung

Mordern Chinese artist Ting Yinyung received strong academic training from Tokyo University of the Art in Japan from 1921 to 1926. Influenced by Western ideology of Modernism and Fauvism, Ting’s artistic language evolved boldly and unrestrictedly. Later, as Ting returned to China, the artist himself, along with Lin Fengmian, Xu Beihong, Guan Liang and others strenuously promoted the study of modernisation in China. This forward-thinking and pioneering was highly respected within the circle.

In the late 1920s, Ting Yinyung came across the study of lines and strokes in Chinese traditional painting. Further, his contact with ink fascinated him to develop a unique style of painting, which combined stylized forms of the Fauvists. This significant breakthrough enriched his distinctive style that is renowned to this day. For instance, his large-scale ink painting demonstrates boldness that is also simplistic. Elegant and swift brushstrokes tell the history of traditional ink painting, while its accents and brazenness conveys courage and vivacious spirit of the modernity. With the works retrospectively titled Bath of the Concubine (Lot 55), completed in 1976, and Crabs (Lot 56), completed in 1965, these sublime works to be auctioned in Spring are noted as matured works of Ting’s oeuvre. Each work shows unity, solidity and profoundness in the gesture and highlights of ink and Ting’s materful brushwork.

In a World of Beauty and Confidence

Drama characters were a focus in Ting’s golden days. In his significant work Bath of the Concubine, the scenery reminds of classical topic about Yang Guifei’s bath, which is often depicted by many artists. In contrast, Ting’s depiction conveys confidence through Yang Guifei’s nakedness and spread out arms, gesturing a display of her body and stroking her face with her right hand. Compared to works of similar subject, the character of Yang transcends nobility and confidence, like the three goddesses of beauty in Henri Mattise’s paintings. Through Yang’s character, Ting Yinyung boldly depicts the natural human body in deep, strong and powerful lines of brushwork. With accents of yellow, red and blue on the servants’ clothing, it guides the viewers to focus on Yang and her unfiltered body, returning to its original innocence, as she stands with courage between heaven and earth. The character highlights the strength and beauty of the human body, and most importantly, it symbolized a new modernity of art, beauty and culture in Tang dynasty.

Crabs Walks Along an Aloe Blossom Pond
The Colour of Iron Reflects by the Lake

In addition to figures, Ting’s depiction of animals was pivotal and frequent in 1950’s. The passion in animal portrayal was emphasized as the artist was invited to participate in an exhibition on animal paintings at the Musée National d’Histoire in Paris in 1957, along with Chinese artists Qi Baishi and Pan Yuliang. In 1959, Ting was selected to enter the Contemporary Chinese Calligraphy and Paintings Exhibition. Two of his animal-themed paintings were displayed at Yale, followed by other prestigious institutions’ exhibitions for over two years. Ting’s international presence at such major venues definitely enriched his global reputation.

In our upcoming auction, the painting Crabs is in reference to ancient ideology and symbolism of joy of a good harvest. With the crab’s solid exterior, the shield-like form is comparable to an upright and unyielding character. In Ting’s painting Crabs, the light touches of ink and lines shape the spatial distance in the pictorial composition. Its form and structure builds each characteristic and personality.

In the background, swaying and simplistic brushwork builds ambience of an autumnal reeds in wind. Variations of thick and thin lines highlight the natural position of the falling reeds. In comparison, Ting’s works are quite similar to the legendary works of Xu Wei, a Ming dynasty painter who pioneered Chinese large-scale ink painting. In addition, Ting uses the power of lines to redefine the value of modern painting. In a few simplistic lines, Ting skillfully pictures a playful and dynamic landscape which can be appreciated for a long while.

Price estimate:
HKD: 30,000 – 50,000
USD: 3,800 - 6,400

Auction Result:
HKD: 84,000