Longmen Art Projects 龍門雅集

The Flower Thief All Landscapes, Thousand Mountains Long Journey : 2018 Exhibition of Walasse Ting

Walasse Ting

采花大盗全山水 千山独行:丁雄泉2018作品展


採花大盜全山水 千山獨行:丁雄泉2018作品展


  • © The Flower Thief All Landscapes, Thousand Mountains Long Journey : 2018 Exhibition of Walasse Ting 采花大盗全山水 千山独行:丁雄泉2018作品展
    Walasse Ting, Golden Landscape(Triptych), Chinese Ink and Acrylic on Rice Paper, 182x233.8, cm Early 1980s 丁雄泉, 金色山水图(三联屏), 水墨 亚克力 宣纸, 182x233.8cm, Early 1980s 丁雄泉, 金色山水圖(三聯屏), 水墨 亞克力 宣纸, 182x233.8cm, Early 1980s

Through his unique vision and insights, Ting revolutionised traditional Chinese landscape painting, created a new schema and a new brush language, and made possible the transition to a modern version of the genre. His works and accomplishments play a catalytic role in the evolution of contemporary art, while his unprecedented take on landscape paintings leaves an indelible footprint, making his artistic legacy all the more worthy of further inquiries. Having attributed his own feelings to nature, Ting viewed it as a living creature just like himself, and as a result, the mountains and the waters in his paintings emphatically resemble his joyful sensations. Or as Xin Qiji, a majestic poet of the Song Dynasty, put it, “when I see the green mountain, I find it to be charming. Supposedly, the green mountain will find me so as well.” Indeed, Ting’s landscape paintings thus turn into a haven for his soul. Gong Yunbiao Summer, 2018 Shanghai

在中国现代山水画发展进程中,丁雄泉的山水画,自具手眼,自立门户,对传统山水画进行变法图新,改造重构为新的作品图式和新的绘画语言,完成了山水画从传统形态向现代形态的转换。 丁雄泉把大自然看作是和自己一样有生命、有精神的实体,在精神和心灵上同化大自然,于是在他的山水画中,总是洋溢着感性欢悦的“有我之境”。正如辛弃疾的词曰:“我见青山多妩媚,料青山见我应如是。”丁雄泉的山水画,也成为了他徜徉自适的灵魂栖息之所。 龚云表 2018年夏末于上海

在中國現代山水畫發展進程中,丁雄泉的山水畫,自具手眼,自立門戶,對傳統山水畫進行變法圖新,改造重構為新的作品圖式和新的繪畫語言,完成了山水畫從傳統形態向現代形態的轉換。 丁雄泉把大自然看作是和自己一樣有生命、有精神的實體,在精神和心靈上同化大自然,於是在他的山水畫中,總是洋溢著感性歡悅的「有我之境」。正如辛棄疾的詞曰:「我見青山多嫵媚,料青山見我應如是。」丁雄泉的山水畫,也成為了他徜徉自適的靈魂棲息之所。 龔雲表 2018年夏末於上海