Sincere Brush: Works of Ting Yin-yung Courtesy of His Students and
Friends in the Department of Fine Arts, CUHK
Period I: 12 May 2018 íV 2 July 2018
Period II: 6 July 2018 íV 2 September 2018
Exhibition Venue: Gallery II, Art Museum, CUHK
Ting Yin-yung (1902íV1978, courtesy names Shudan and Jibo) was a native of the Maopo Village in Xieji Town, Maoming (in present-day Gaozhou), of Guangdong province. Returning to China after his studies at the Western Painting Department of the Tokyo School of Fine Arts in 1920íV1925, Ting had worked in the field of art in Shanghai, Guangzhou and Chongqing before settling in Hong Kong in 1949. Over those times of hardship, he embarked on a long artistic journey to straddle the realms of both Chinese and Western art. Starting his career with oil painting, he was hailed as the "Eastern Matisse" after the French Fauvist painter whose work he appreciated especially. He later turned to traditional Chinese ink painting, as well as calligraphy and seal carving, heavily influenced by Bada Shanren (1626íV1705) of the late Ming and early Qing period, which earned him a reputation as the "Modern Bada Shanren". Ting's art is particularly noted for transcending the East-West divide, with delightful innovations on time-worn subjects. His expressive ink painting, executed with simple, child-like brushstrokes, marks him as a major pioneer in twentieth-century Chinese painting by common assent.
In 1957, Ting Yin-yung was invited by Ch'ien Mu (1895íV1990) to join the New Asia College and took part in the founding of the two-year Fine Arts Specialized Training Programme. It was developed into a four-year undergraduate degree programme in 1959. Upon the establishment of The Chinese University of Hong Kong (CUHK) in 1963, New Asia College was made one of its constituent colleges, and the Department of Fine Arts thus became the first visual arts department at tertiary institutes in Hong Kong. Ting had taught as a founding faculty of the Department for twenty-one years, making a signal contribution to the tertiary art education in Hong Kong. Known among his student as "Master Ting" (Ding gong), he was a popular and respected teacher. Ting's class often consisted of hand-on demonstration; he also made impromptu compositions on subjects requested by students. Swift with his brushwork, Ting had left behind myriad works of diverse subjects, with occasional inventive streaks, and mostly presented to students in his classes or made available for pick-up by any interested bystanders. Such generosity ensures the large circulation of his painting, some with similar compositions, which suggests repeated deliberation and practice to achieve the best results.
On the occasion of the fortieth anniversary of Ting's passing, his former students and friends at the Department of Fine Arts, CUHK, are organizing the present exhibition in his memory and donating their cherished works of his over the past few decades to the permanent collection of the Art Museum, CUHK. The donation comprises one hundred items, reminiscent of Ting's generosity, three of which were made in as early as 1989 and 2016. An additional eleven items are on loan for display in the exhibition. The exhibits were composed between 1962 and 1978, spanning the sixteen years when Ting was a faculty at the Department. It is also the period when he reached the peak of his artistry. The majority of these works are demonstration sketches during his classes, which showcase his humour and jest, sorrow and pride, along with his compliments and encouragement, birthday and wedding wishes, and more. One can also catch a glimpse of his ingenuousness and sincere compassion for his students. Due to the space constraint, seventy-four of these works are selected for the exhibition in two phases. The exhibits are divided into seven sections: "Aquatic Lives", "Flowers, Fruit and Insects", "Birds and Land Animals", "Four Elegant Plants", "Figures and Landscapes", "One-Stroke Paintings" and "Calligraphy". Together they underline Ting's world of ink art and his teaching in Chinese painting and calligraphy. With the possibility of dating the works according to the years of the students addressed, one has the means to accurately map the trajectory of Ting's artistic creation and development during his later years. Originated from the Department of Fine Arts, these works have followed the divergent life paths of their owners, with Ting's blessings, before returning to the CUHK campus as treasured collection at the Art Museum, bearing witness to the University's humanistic ideals, the artistic and moral merits of Ting, as well as the lasting bond with his students and friends.
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