山水及一筆畫

「講筆墨、求意趣。」

「筆筆中鋒，水韻墨章，變化無窮。」

「一枝筆，不更換，畫到底。」

「畫如生龍，人似猛虎。」

——陳士文，〈丁衍庸的特色〉（1973年）

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「曾有畫評家指出，丁衍庸的山水畫是他最少表現純真童心的一種，反過來說，就是最見他繪畫功夫的一種畫。他的山水畫來自八大山人，但他比八大更誇張和抽象。⋯⋯他的山水畫，是要表現簡樸的世界，他心中的世界。」——鄧偉雄，〈看丁衍庸畫〉（1987年）

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（丁衍庸)「強調傳承詩、書、畫、印的整體表現，同時深入修煉筆墨的神髓和參悟中國文化精神。其晚年作品表露鮮明的個性和獨特的精神，尤其是一種於童稚的幽默奇趣之感。」

——高美慶，〈丁衍庸藝術的香港時期〉（2009年）

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“Treasure the use of brush and ink, pursue the meaning and fun aspect of paintings.”

“Keep the tip of the brush always moving within the middle of the stroke. Water and ink have their own rhythm and movement that change without limit.”

“One brush, no change, to complete a painting in one go.”

“Painting is vivid like a dragon. Human figures are full of spirit like a tiger.”

—Chan Shi Wen, ‘The characteristics of Ting Yin Yung’s paintings’ (1973)

“Some critics have noted that the landscape paintings of Ting Yin Yung are the least pure and childlike of his works. On the other hand, they also best demonstrate his artistic technique. While his landscape paintings are inherited from Bada Shanren, Ting’s works are even more exaggerated and abstract . . . the landscape paintings express a simple world in his heart and mind.” —Tang Wai Hung, ‘Viewing Ting Yin Yung’s paintings’ (1987)

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“Ting Yin Yung emphasised the combined inheritance of poetry, calligraphy, paintings and seals, while he tirelessly worked at his use of brush and ink, as well as at understanding the core meanings of Chinese culture and civilisation. His later works expressed his unique style and spirit, especially his innocence and childlike brushstrokes filled with humour.”

—Kao Mayching, ‘The Art of Ting Yin Yung in Hong Kong’ (2009)