“一点中国的音乐、一碗馄饨汤、一张宣纸、一瓶墨水、一只笔刷和一杯茶，我如春风拂过般开始画中国女人。” 　　

　　

　　——丁雄泉 　　

　　

　　 　　

　　

　　1946年，一个18岁的少年，怀着一颗孤独的心，离开了生活了十几年的上海，只身前往香港，开始了他的人生旅程。那时候他还专注于素描和水墨画，却不知道自己的旅程会越来越华丽，画纸也会越来越漂亮，给世人留下无数美丽的风景。 　　

　　

　　毕加索曾说：“我花了四年才画出拉斐尔那样的作品，却花了一辈子才画出一个孩子的样子。”诚然，艺术家从创作之初，到抛弃技法的条条框框，独立于俗世的河流中，必然要经历一条自由之路。丁雄泉是一位到达自由王国的画家。他拒绝被归入任何画派，用一生的时间用绚丽的色彩表达对生活的真爱。他以最轻盈的姿态穿梭在艺术的花丛中，却用最大的力量守护着艺术灵魂的纯洁与虔诚。 　　

　　

　　 　　

　　

　　 　　

　　

　　丁雄泉在他的工作室里，阿姆斯特丹，1986。 　　

　　

　　:: 　　

　　

　　以梦为马，随处可栖 　　

　　

　　丁雄泉(1928-2010)出生于江苏无锡。在她4岁的时候，她家搬到了上海，在上海度过了童年。从小就表现出绘画天赋，热爱街头涂鸦式的自由创作，一度进入上海艺术学院。但由于他的自由天性，实在无法顺应学院的约束，于是他在18岁时决定放弃学业，开始人生的流浪之旅。他先是一个人去了香港，然后在1952年去了巴黎。口袋里只有五块钱，幸运的是，我可以带着我的梦想作为我的马住在任何地方。而年轻落魄的他，却因为对艺术的热爱而义无反顾，1958年，丁雄泉去了纽约，余生经常在纽约、巴黎、阿姆斯特丹等地生活，游走在不同的艺术文化氛围中，却又不失本真。 　　

　　

　　 　　

　　

　　丁雄泉在山姆弗兰西斯的工作室画画。 　　

　　

　　在他短暂的青少年时期，丁雄泉受到了上海、巴黎和纽约三大艺术之都的熏陶，亲身经历了世界艺术的潮流，他的绘画自然地表现出融合各种文化的特点。他擅长社交。在巴黎期间，他与卡雷尔阿佩尔和皮埃尔阿列钦斯基等眼镜蛇派的高级艺术家有着良好的关系。搬到纽约后，他遇到了美国抽象表现主义画家萨姆弗朗西斯和波普艺术家汤姆威瑟曼。在不同文化灵魂的交流与碰撞中，丁雄泉从未停止寻找自我。 　　

　　

　　 　　

　　

　　温柔的爱人一束柔情| 178 x 96 cm 　　

　　

　　丙烯酸墨水纸墨水，宣纸上的丙烯酸1992 　　

　　

　　他小心翼翼地把他早期的素描水墨画带到了巴黎。在被西方抽象艺术的精神震撼之后，过去的宝藏已经不值得一看了，于是他把它们都点着了，轻装上阵，重新开始。在纽约与波普艺术结下不解之缘后，明亮的对比色掩盖了石鼎作品中的所有阴郁。除了原有的水墨线条之外，石鼎加入了滴水泼墨等绘画技法，在保留抽象艺术精髓的同时，他又回归具象。直到20世纪70年代，以女人和鲜花为永恒主题的最知名的石鼎风格才形成。 　　

　　

　　 　　

　　

　　我想你| 85 x 60 cm 　　

　　

　　帆布丙烯画1985年 　　

　　

　　:: 　　

　　

　　采花大盗的诗情画意 　　

　　

　　丁雄泉曾说：“花的美可以清除灵魂，引起悲伤，使我爱，从头再来，鼓励个性，带来重生，启发我使用颜色。”他甚至自称花贼，是真正的女性美采摘者。丁雄泉承认他喜欢去浪漫的地方，并在对性充满热情后开始大肆绘画。他笔下的女性大多相似，眉毛细长，身材丰满，慵懒，性感，感性。他的女性绘画既不具象也不抽象，更像是一种逐渐衍生出来的性感符号。而这些性感尤物往往伴随着花朵、鹦鹉、水果、折扇等元素，漂浮在纯色背景上，含义不明，仿佛置身于一个奇幻世界。明亮的荧光色加上饱满空白的构图，总给人一种“所有的爱都锁不住，墙外却出一朵红梅花”的感觉。 　　

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“澄怀味象”展览现场

　　

当被问及女人是穿衣服好看还是裸体好看，丁雄泉答：“穿衣服的人总是愁眉不展。”丁氏拥有许多裸女作品，虽然画的大多是外籍模特，画上呈现的却更像是中国唐代美人。他的裸女画作是写意的，写意重在写态；这些作品既有西方现代艺术的大胆恣意，也有中国传统水墨的百般柔情。他酷爱在宣纸上作画，融合亚克力彩与彩墨的韵味，形成丁氏独有的风格。他认为画家是要有艺术根基的，而于他而言，首先就是要把唐诗背熟，否则便会随风飘荡，茫茫然不知所往。丁氏作品中的东方意蕴令他在众多西方艺术家中独树一帜，以“诗画艺术家”著称。

　　

　　

丁雄泉的外籍模特

　　

丁雄泉的忠实藏家遍布十余个国家，在中国现代艺术家中可谓先锋。这不仅归功于他画作中多文化的糅合，以及他广结善缘的性格，还与他的版画创作息息相关。他甚至会在没有纸本原作的情况下，专注于创意型版画的创作。他仿佛是一名快意江湖的侠客，不拘一格，游走自如，通过画笔将春天的花朵撒满世界。

　　

::

　　

七情六欲，天真无邪

　　

而这样千山独行的侠客，那样轰轰烈烈、酣畅淋漓，他必然是轻钱财的，也肯定是爱美色的。吃喝嫖赌，酒色才气，样样都来；喜怒哀乐，酸甜苦辣，样样都去。一个文质彬彬、在社交礼仪方面严格要求自己的绅士，却在画中将潇洒热情的自己淋漓尽致地交给了你。

　　

　　

“采花大盗”钤印

　　

艺术心灵的纯粹与虔诚难能可贵，丁雄泉常用打坐的方式避免“空气的污染”。屏息凝气，直到全身发热，眼睛发亮，直到他的耳朵像兔子耳朵一样敏感，全身邪念都没有，才进入创作状态。他的画作没有所谓的崇高神圣，一日三餐是喜悦，七情六欲是日常。他的画中有娇艳的花朵和悦耳的鸟鸣，也有偷偷在为油彩狂欢的女子。这是源于生活最本真的感受，是心灵最深处的愉悦，是拈花弄草之间的浓墨重彩。

　　

　　

“每一次我看见美丽的女人就会联想到鲜花，鲜花之美使我爱，使我新鲜。”

　　

　　

“我一生致力绘画，只为表现出那如初春般的新事物。”

　　

::

　　

“Every time I see a beautiful woman, I think of flowers. Flowers drive me to love and be fresh.” Ting’s watercolour paintings construct a seductive and romantic world where flowers never wither,and the beautiful never fades.

　　

　　

丁雄泉和他的模特们，阿姆斯特丹，1987

　　

Walasse Ting and his models, Amsterdam

　　

Born in Jiangsu Province and growing up in Shanghai, Walasse Ting spent his entire childhood during the most prosperousera of Shanghai which thrived to become one of the leading commercial centers of the East. In his 20s, the free-spirited Ting left Shanghai for Paris to study the most avant-garde art at the time. During his studies, he grew a fascination for French painting masters, including Henri Matisse and Pablo Picasso.

　　

　　

It is not hard to tell Matisse’s influence on Ting’s paintings for his bold play with complementary colors, intense warmred against a cool-toned background, which resembles rejuvenating nature in spring – blossoming flowers and burgeoning leaves. They are figurative, yet viewing from a distance, they look semi-abstract for their flattened form and free composition. His artworks incorporate the essence of Western art –provocative subject matters and bold use of color as well as Eastern art –delicate watercolor application.

　　

三美图 Three Beauties | 220 x 118 cm

　　

水墨丙烯纸本Ink, acrylic on Xuan paper 1989

　　

Once Ting was asked: “Are women more beautiful dressed or naked?” He responded light-heartedly that “Those who are dressed always look somelancholy.” As this anecdote and his self-coined nickname “the flower thief” reveal, he had been fond of portraying beautiful,naked women all his life.

　　

　　

A modern dandy, Ting himself, placed particular importance on appearance and etiquette, and he was in pursuit of beauty for his entire life, enjoying the company of beautiful women. He often requested young female models to take off their clothes and walk around in his studio, while he took photos and watched them. Nude women were not foreroticism, but solely for beauty’s sake.

　　

黄袜女人 Woman Wearing Yellow Stockings | 60 x90 cm

　　

石版画 Lithograph 1985

　　

He did not seek to paint the noblest subject matters, but to portray the most primitive desire and purist pleasure unrestricted. His works embody freshness and vitality, fashioning an eternal world of delicate flowers and lively animals. He adorned the Xuan paper with his deep passion for life and youth.

　　

　　

In 1958, Ting relocated to New York at the height of Abstract Expressionism which had a profound influence on his own creative processes. He befriended with American abstract expressionist artist Sam Francis and Pop artist Tom Wesselmann. Under their influence, he began to experiment with techniques associated with the particular art movement, such as dripping, to convey his inner feelings. His use of color became even more bold, painting large proportions of the paper with fluorescent color.

　　

　　

In the 1970s, Ting developed his individualistic style, which fuses Western and Eastern art style. His artworks departed from oil paint, instead, adopting traditional Chinese watercolor, defined with calligraphic style outline and applied onto Xuan paper, complementing the delicate and fresh subjects. Even though his models are mostly Westerners, the nudes in his artworks echo beauties in traditional Chinese paintings, especially from the Tang Dynasty.

　　

　　

　　

丁雄泉画笔下的女子形象

　　

Women figures in Ting's paintings

　　

Later in his career, he moved to Amsterdam,where the canals reminded him of the natural landscapes in Hangzhou West Lake. His Dutch girlfriend also became his muse and as a source of inspiration. His works then focused on depicting women in nature, in which the clothes of women are almost blended with nature into one as if their bodies are sprung from the environment.

　　

Creating was an act of liberation for Ting. Just as Pablo Picasso once said: “It took me four years to paint like Raphael, but a lifetime to paint like a child.” As his artistic life progressed, he gradually abandoned skills and composition, instead, allowing his brushes to flow naturally and freely to express the true self. To be in a state of purity and full devotion to art, he frequently practiced meditation to avoid “the pollution of air” and to fully present the beautiful. Ting’s art exudesvitality and youth that could move any audience that stands in front of his paintings.

　　

　　

“I have dedicated my whole life to painting, just to portray freshness of the early spring.”

　　

Reference：

　　

－《“拿笔忘了笔,作画忘了画”——丁雄泉:传统山水的当代性转变》，薛晓雁，2019

　　

－ https://dingxiongquan.artron.net/

　　

－ http://dingxiongquan.cn

　　

澄怀味象 | 华人艺术大师系列

　　

Return to Nature | Chinese Master's Art Works Collection

　　

艺术家 Artists

　　

赵无极 Zao Wou-ki \ 朱德群 Chu Teh-chun

　　

丁雄泉 Walasse Ting \ 曾海文 T’ang Haywen

　　

出品人：吴滨

　　

策展方：WS SPACE 無 集 & 杜若云章·上海 Je Fine Art Space