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Lot Essay
Untitled (Lot 8), presented in this season's evening sale, is an enchanting double-sided painting. T'ing Yin-yung's exquisite employment of lines and breathtaking colour execution are manifested to the hilt in this piece. They wondrously embody his insights into the origins of Eastern and Western arts and admirable artistic attainments. Throughout his life, T'ing Yin-yung created work that dissolves boundaries between Eastern and Western arts, while achieving finesse in both ink and oil painting. His dedication to pursuing new artistic styles to reflect the spirit of the era, and art education for young talents make him a paramount figure in the modernisation of Chinese art in the 20th century.
Acknowledging Eastern aesthetics of 'portraying the spirit with forms' with Western mediums
Artistic theories and paintings created by renowned painter Gu Kaizhi of Eastern Jin Dynasty set a milestone for the depiction of the character's spiritual essence. In addition to a lasting impact on Chinese art and the future generations, they also re-navigated traditional aesthetics toward the pursuit of 'portraying the spirit with form.'
Whether it's the frontal or backside of the lady's portrait in Untitled, T'ing has successfully captured the character's posture and spirit with a few simple and unembellished lines. The arrangement accedes T'ing's revered standing at the junction of Eastern and Western arts, and how he accurately embodies the 'portrayal of the spirit with forms' using oil paint.
T'ing's ebullient outlining technique was unrivaled by other first-generation Chinese oil painters of his time. Portrayed with understated and smooth lines, the sitting nude fronts the canvas with poise. This side of the piece was executed in 1967. The lady's graceful, upright posture is made more awe-inspiring by T'ing's precise depiction of her graceful bearing and interlaced fingers.
T'ing employed bright orange as background for the composition. Animal prints are stacked on the left in quick strokes. The dissection and analysis of multiple small facets and the simplified outlines inaugurated the flattened picture plane, decorative visual effects (Fig. 1) that Western modern art sought after. The piece also resonates with the explosiveness of Primitivism's rough and unrefined elements that had profoundly inspired T'ing's artistic styles.
The Influence of Chinese Seal Engraving
in the Creative Process
The backside of Untitled was completed a year after T'ing finished working on the front side. He reversed the order of conventional methods and employed a technique that 'imprints the background in white for black characters' (Fig. 2). It involves pink or red oils on a white background, followed by large expanses of black to go on top of the base. Next, T'ing outlined a full-sized portrait of the nude lady with a blade before the black paint dries. The stroke is executed with speed and produces a bold yet precise result; the execution highlights the lady's quiet demeanor. The dynamic outlines subtly complement the character's gracefulness.
One thing noteworthy is that T'ing began collecting Chinese calligraphy and artifacts in 1929, and extensively studied the art of Chinese seal-making (Fig. 3). The visuals of this composition are akin to the effects of 'intaglio seal'. The elegant contours radiate strength and augustness. The style and influence of seal making shine through T'ing's skillful presentation to enchant the viewer. This double-sided painting is intriguing to look at from both the front and the back. It is in line with the essence of Western modern art, and a nod to traditional Chinese aesthetics, making it more significantly epochal.
Acknowledging Eastern aesthetics of 'portraying the spirit with forms' with Western mediums
Artistic theories and paintings created by renowned painter Gu Kaizhi of Eastern Jin Dynasty set a milestone for the depiction of the character's spiritual essence. In addition to a lasting impact on Chinese art and the future generations, they also re-navigated traditional aesthetics toward the pursuit of 'portraying the spirit with form.'
Whether it's the frontal or backside of the lady's portrait in Untitled, T'ing has successfully captured the character's posture and spirit with a few simple and unembellished lines. The arrangement accedes T'ing's revered standing at the junction of Eastern and Western arts, and how he accurately embodies the 'portrayal of the spirit with forms' using oil paint.
T'ing's ebullient outlining technique was unrivaled by other first-generation Chinese oil painters of his time. Portrayed with understated and smooth lines, the sitting nude fronts the canvas with poise. This side of the piece was executed in 1967. The lady's graceful, upright posture is made more awe-inspiring by T'ing's precise depiction of her graceful bearing and interlaced fingers.
T'ing employed bright orange as background for the composition. Animal prints are stacked on the left in quick strokes. The dissection and analysis of multiple small facets and the simplified outlines inaugurated the flattened picture plane, decorative visual effects (Fig. 1) that Western modern art sought after. The piece also resonates with the explosiveness of Primitivism's rough and unrefined elements that had profoundly inspired T'ing's artistic styles.
The Influence of Chinese Seal Engraving
in the Creative Process
The backside of Untitled was completed a year after T'ing finished working on the front side. He reversed the order of conventional methods and employed a technique that 'imprints the background in white for black characters' (Fig. 2). It involves pink or red oils on a white background, followed by large expanses of black to go on top of the base. Next, T'ing outlined a full-sized portrait of the nude lady with a blade before the black paint dries. The stroke is executed with speed and produces a bold yet precise result; the execution highlights the lady's quiet demeanor. The dynamic outlines subtly complement the character's gracefulness.
One thing noteworthy is that T'ing began collecting Chinese calligraphy and artifacts in 1929, and extensively studied the art of Chinese seal-making (Fig. 3). The visuals of this composition are akin to the effects of 'intaglio seal'. The elegant contours radiate strength and augustness. The style and influence of seal making shine through T'ing's skillful presentation to enchant the viewer. This double-sided painting is intriguing to look at from both the front and the back. It is in line with the essence of Western modern art, and a nod to traditional Chinese aesthetics, making it more significantly epochal.