篆刻

Seal Engravings

—Pngtree—ink ink brush ancient style_4734413.png

困乏多情香江藝緣

Enduring Strength

and Passion

「金石我所欲也，書畫我所欲也，二者不可偏廢。」——丁衍庸，〈金石與書畫〉（1958年）

「丁公是自明文彭始崇漢印四百多年以來，第一個全面擺脫漢印規範的篆刻家。」——傅世亨，〈丁師的篆刻藝術〉（1979年）

「他的印章以自用印為大宗，當可知他開始治印的目的在使印章與畫風相配合，乃成就丁氏詩、書、畫、印四者相輔相成的藝術。」

——高美慶，〈丁衍庸藝術的香港時期〉（2009年）

“Epigraphy is what I am most drawn to; also calligraphy and painting; none of them are to be neglected.”

—Ting Yin Yung, ‘Epigraphy, calligraphy and painting’ (1958)

“Since the revival of Han seals by Wenpeng during the Ming dynasty, Ting has been the first seal carver to break fundamentally from the traditional form of Han seals in over four centuries.”—Fu Sai Heng,‘Master Ting’s art of seal carving’ (1979)

“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)

“ Most of his seals were made for his own use, presumably with the aim to match them to the styles of his paintings. His seals thus constitute part of his artistic achievement in four areas: poetry, calligraphy, painting and seals, each complementary to the other.”

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