Ding Yanyong

Signed Y. Y. Ting, dated '67 and numbered 6/2 (lower right); Signed Y. Y. Ting, dated 68 and numbered 5/8 (lower right) (reverse)
Executed between 1967-1968

Private American Collection

Overall in satisfactory condition. There is a scratch (approximately 3 cm.) at the lower centre and some discolouration on the right edge. Some visible cracking on upper right of reverse with some surface abrasions. There are two pierced holes on the board at the top left and right, possibly from previous hanging.
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Ding Yanyong was the pioneer of modern-expressionism in China.  Between 1920 and 1925 he studied at the Tokyo School of Fine Art where he began working with oil paints and the intense colours used by the Fauvists.  However, Ding Yanyong did not blindly imitate Western art; instead he advocated absorbing Western art styles and then transforming them to create one's own artistic vocabulary.[1]  As such, he often turned to the calligraphic lines found on the inscriptions on oracle bones and ancient bronzes for inspiration.  The work Untitled, is representative of works by the artist at the most mature stage in his career.  It is a double-sided work; on the front of the board the artist has used simple flowing lines to outline a female nude with her hands folded.  The background is decorated with three animal symbols, depicted in the distinct style of ancient bronze inscriptions.  On the reverse of the board, two layers of paint have been applied, one white and one black.  Before the black paint dried, the artist used a spatula to scratch out another image of a seated nude, completing the form in one natural and graceful line.  This work exemplifies Ding Yanyong's creative spirit; he does not try to reproduce a true image of his subjects, instead he tries to express his subject's inner personalities, giving them their own life.     

[1] "Dialogues across time – The oil paintings of Ding Yanyong" by Yi Shufan. In Aesthetic Images of Ding Yanyong's Paintings, pp.40-49, National Museum of History Publication, Tapei, 2003, p.42