丁衍庸 Ding Yanyong
丁衍庸（1902.4.15-1978.12.23），后改名丁鸿，字叔旦，号肖虎、丁虎，广东省茂名县（今高州市）谢鸡镇茂坡村人。日本川端画学校、 东京美术学校毕业。擅长西画、中国画、书法。西画宗野兽派大师马蒂斯，人体素描基础浑厚，色彩绚艳、线条简练，有“东方马蒂斯”之 称。中国画擅长花鸟、山水、人物，花鸟画撷取朱耷、徐渭、金农的特点，自成一格；山水画笔触胆大豪放，布局革新，留白巧妙，意境深 远；人物画也饶有情趣；书汉擅长草书。中国现代美术的重要倡导者之一，现代著名国画家、油画家、篆刻家、美术教育家。
民主革命时期初在茂名读小学、中学16岁开始学习绘画。1920年茂名县立中学毕业后，在叔父丁颖的资助下，被广东省保送赴日本留学 ，先后在川端画学校补习素描。1921年考入东京美术学校就读，主习西画。人体素描、静物、风景，靡不深究，尤醉心野兽画派大师马蒂斯 画风，废寝忘食，成绩斐然，深得校长黑田清辉赞赏，年仅弱冠，作品已人选日本中央美术展，—呜惊人。
1928年任第1届全国美术展览会甄审及筹备委员会委员，同年秋回广州筹备市立美术博物馆于越秀山，任常务会美术部主任，兼任广州市立美 术学校西画教授。1929年以后开始研习中国画，并从事篆刻及美术理论撰述。1932年再赴上海，任教于新华艺术专科学校。1941年回粤后， 即转往四川省国立艺术专科学校教授西画。1941年与关良等组织独立画展，继续倡导现代艺术。
“洋八大”丁衍庸：一生笨拙，唯对画痴。他的艺术是一条离经叛道的路程，先是推崇野兽派，然后“回归传统”，不仅将丁衍庸的一生大 致以1949年为界划为两大阶段，更悄然呼应了上世纪中国美术史上的两股重要潮流。丁衍庸终身保持中西艺术各擅胜场、双线发展的轨迹， 在不同领域都形成了富有强烈个性的绘画风格，表现了“中国艺术家独有的性格”。和丁衍庸相似的一位画家是近年大热的关良。都是东渡 日本，学习西画，再由西画回归国画。但相比之下，丁衍庸走了一条更加随心所欲的道路，泼墨挥毫，淋漓尽致。丁衍庸多才且全面，诗、 书、画、印样样皆精，在近百年的中国艺坛并不多见。但是这样一位对于传统水墨做出了创造性超越和突破的艺术家，是穷死的。晚年丁衍 庸，生活境况非常潦倒，在香港以教人画画为生，居室狭窄，不得不在浴缸上搭一块板子作画。丁衍庸在与香港知名人士的合影里，总有一 丝对人群的害怕和疏离。我在他绘制的那些鹤的眼中，也看到了这种情绪。
丁衍庸在20世纪60年代以前并不刻印,晚年才开始治印,不过他对篆印的兴趣,早在青年时代就已培养起来。20世纪30年代,他便开始收集秦汉 的古玺印,。由于他不是古文字学者,不囿于字体的法则,反而更能利用古玺印、甲骨文及金文的奇特造型,进行重新配置组合,在方寸之内,虚 实相映,尽情发挥想象,建构出千变万化的艺术效果。常用所藏古玺印钤盖在自己的书画作品上,后来觉得古玺印,甚受限制,遂开始操刀治印, 以求所治印章和自己的画风相吻合。另外西洋画准确的造型能力和中国书画的空间概念,都会为他的刀笔注入神奇。据资料显示,他刻印从不 用印床,也不写印稿,以握拳的手法执刀,仿佛是拿着油画笔一样,不过是刀口朝内,以刀代笔,走刀飞石,犹画笔行于纸上,且不论印石之大小,皆 顷刻即成。
Ding yanyong (1902.4.15-1978.12.23), he changed his name to Ding hong, his courtesy name is shudan, art name is xiaohu or dinghu. he was born in guangdong province. he graduated from Tokyo University of the Arts. Hes is good at western style, Chinese traditional painting, calligraphy. he absorb the technical from xuwei, zhuda, jingnong and made his own style. very brave in lines and structure, style stable and far reaching conception. figues painting is very insteresting, Ding yanyong is good at Chinese calligraphy, especially at the running style.One of the most important advocates of modern Chinese art, famous modern painters, oil painters, seal cutting artists and art educators.
Ding yanyong started learning painting from his 16 years old in the primary school during the period of democratic revolution. He graduated from middle school in 1920. Supported by Uncle Ding Ying, he was sent to Japan to study sketch guaranteed by Guangdong Province. 1921 was admitted to the Tokyo University of the Arts, and majoring in Western painting.After his efforts were won the appreciation of President Kuroda Kiyoshiki, only one year, his works of art has been joined the Japanese central art exhibition works.
After 1925 Ding yanyong had retured back to China, as the western painting professor in Shanghai Lida school,and Western painting professor of female art department of China. Ding yanyong had been back to guangdong since 1941.he is transferred to the professor at the National College of art of Western Sichuan province. and Ding yanyong also organized the independent art exhibition with Guan Liang and continued to advocate modern art.
After the victory of the war of resistance against Japan in August 1945, he attended the nine people’s painting meeting in Shanghai and studied Chinese and Western art. In 1946, he was elected president of Guangdong provincial art academy.In October 1949 Ding Yanyong moved to Hongkong, renamed Ding Hong, taught at Hong Kong Tak Ming middle school,All Saints’ Middle School to teach painting for a living.Since 1956, he taught in the art section and Art Department of New Asia College in Hongkong. In 1961, he served as director of Hongkong Art Academy deming.Ding yanyong founded Hongkong art academy in 1963 after months, it suspended. In 1973, he began to teach Chinese painting in Chinese University Hong Kong, and served as director of the Art Department of Tsinghua university.Ding Yanyong was good at western oil painting, chinese traditional painting, Chinese calligraphy,traditional ink and other traditional and modern western painting, some ideas blend together, produce odd stubborn humor, naive and bold features.He was named as “Oriental Matisse” since sketching based rich, strong color, concise lines.He was also good at Chinese water ink painting flowers, landscapes, figures, flowers and birds painting.Blended Xu Wei, Zhu Da’s ,Jin Nong in his style, novel, active, pure; landscape painting touch bold and unconstrained,innovative layout, space ingenious, far-reaching conception; figure painting is also interesting; Ding Yanyong was good at Chinese calligraphy, especially at the running style. Calligraphy and painting works held several solo and group exhibitions at home country and abroad. He devoted all his life to art education and trained many art talents.
“Western bada” Ding Yanyong was only crazy at painting and clumsy at others in his whole life. His art was a far away from popular. Ding Yanyong’s life devied into these two megastage, first enthroned Fauvism, and then returned to the traditional in 1949. It was quietly echoed the two important trends in the history of Chinese art in the last century. Ding Yanyong kept Chinese and Western arts two lines development for the whole life. In different fields had formed a strong personality painting style, showing the unique character of Chinese artists. A painter Guan Liang, who similar to Ding Yanyong was a great popular in recent years.Both of them were studying in japan. studying western paiting then return to Chinese traditional painting. But in contrast, Ding Yanyong took a more free way, ink brush, most incisive.Ding Yanyong was versatile and comprehensive in poem,calligraphy and painting, do not see more telants in the last hundred years of art China.But such an artist who has made creative breakthroughs in traditional ink painting was poor till die.Ding Yanyong in his later years, living conditions very down in Hongkong, to teach painting for a living, the room is narrow, had to take a board to paint in the bathtub.From the photo with famous people in Hongkong, Ding Yanyong had alway been afraid and alienated from the crowd. This motion could be found in the eye of cranes in his painting.
His student Mo Yidian remember, that Ding Yanyong had always been in good health. One day, He met someone handing out analgesic paste on the road, then feel only a wallet, simply put the paste on the purse. However,13th December 1978 Mo yidian pick up a call from teacher suddently. He was a sickly countenance, voice hoarse. With a wry smile, he comforted his student, “Painter are very long-lived, so you don’t have to worry about it.” Agreed on New Year’s day back to Guangzhou to see the long-awaited family together. Ten days after Ding Yanyong die with 30 years hope frustrated.
Ding Yanyong was not engraved seal before 1960s, but his interested in early youth has been developed.In 1930s, he began to collect the ancient seals of Qin and Han dynasties.Because he was not paleographer, not limited to the font rule, but peculiar shape can make more use of ancient seals, Oracle and bronze inscription of the reconfiguration and combination, in the confusion, and matched, play imagination, construct the artistic effect of the myriads of changes. The commonly used ancient seals affixed in his works of calligraphy and painting, then found the limitation of ancient seals, then began to curve the seal to matche the style of his painting.Western painting accurate modeling ability and Chinese painting’s concept of space had been made his knife into magic. According to the record he had no seal bed, no draft,holding knife curving like Chinese calligraphy,regardless of size all done in a moment.