“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，怀揣一腔孤勇的18岁少年离开生活了十余年的上海，独自前往香港，开始了生命的旅行。那时的他尚专注于素描水墨，殊不知他的旅途将愈走愈绚烂，画纸将愈来愈明丽，给世人留下了无数旖旎风光。

毕加索曾说：“我花了四年时间画得像拉斐尔一样，但用一生的时间，才能像孩子一样画画。”诚然，艺术家从创作伊始到抛却技法规则、在俗世河流中茕茕孑立，必定经历一段上下求索的自由之路。丁雄泉就是一位抵达自由之境的画家，他拒绝被归入任何画派，一生都在用挥洒明丽的色彩表达对生活最本真的热爱。他以最轻盈的姿态穿梭于艺术的花丛间，却又以最大的气力守护着艺术心灵的纯粹与虔诚。

丁雄泉在他的工作室，阿姆斯特丹，1986

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以梦为马，随处可栖

丁雄泉（Walasse Ting, 1928-2010）生于江苏无锡，4岁时便举家迁移上海，在上海滩的纸醉金迷中度过童年。他自小便展露出绘画天赋，喜爱街头涂鸦式的自由创作，也曾一度进入上海美专学习，却因自由的天性实在无法顺应学院的拘束，在18岁的时候决定弃学开始生命的漂泊之旅。他先是只身前往了香港，又在1952年远赴巴黎。兜里只有五美元，幸而以梦为马，便随处可栖。年轻而穷困潦倒的他因对艺术的热爱而义无反顾。1958年，丁雄泉前往纽约，随后的一生中常居纽约、巴黎、阿姆斯特丹等地，游走于迥异的艺术文化氛围中，却从不失其本真。

丁雄泉在山姆·弗朗西斯的工作室作画

在短暂的青少年时期，丁雄泉便已历经了上海、巴黎、纽约三个艺术之都的熏陶孕育，亲身经历过世界艺术思潮，他的画作中也自然流露出多种文化相糅合的特质。他擅长社交，在巴黎期间与眼镜蛇画派先进艺术家卡雷尔·阿佩尔、皮耶·阿列钦斯基等相交甚好。移居纽约后，又结识美国抽象表现主义画家山姆·弗朗西斯和波普艺术家汤姆·卫斯尔曼。不同文化灵魂的交流与碰撞之间，丁雄泉从未停止自我求索。

温柔情人 A Bouquet of Tenderness | 178 x 96 cm

水墨丙烯纸本 Ink, acrylic on Xuanpaper 1992

他曾将早年的素描水墨作品小心翼翼地带去巴黎，在受到西方抽象艺术精神的震荡之后，往日的珍宝已不值得再看，便放了把火全部烧毁，轻装上阵，重新开始。在纽约与波普艺术结下不解之缘后，高明亮、高对比的色彩又覆盖了丁氏作品中所有的晦暗。除了原来擅用的水墨线条，丁氏又加入了滴流、泼洒等绘画技巧，在保留抽象艺术之精髓的同时重回具象。直到1970年代之后，最为大众熟知的、以女人与花卉为永恒题材的丁氏风格才得以形成。

想你 I think of you | 85 x 60 cm

布面丙烯 Acrylic on canvas 1985

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采花大盗的诗情画意

丁雄泉曾说：“花卉之美可涤清灵魂、引发忧伤、让我去爱、从头来过、鼓励个性、带来重生，并启发我使用色彩。”他更是称自己为采花大盗，是女性之美真正的撷英者。丁雄泉坦言自己喜欢出入风月场所，热衷于欢爱之后开始恣意作画。他笔下的女人形象大都相似，拥有细长的眉眼和丰腴的身体，慵懒、性感、又不失感性。他的女人画作非具体，也非抽象，更像是逐渐衍生成的一个性感符号。而这些性感尤物又常与鲜花、鹦鹉、水果、折扇等元素相伴，浮游于意味不明的纯色背景之上，仿若置身幻想之境。明丽的荧光色加之饱满无留白的构图，总是给人“满园春色关不住，一枝红杏出墙来”的生机盎然之感。

“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。

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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。”

绿衣女人Woman Wearing Green Cloth | 60 x 90 cm

石版画Lithograph 1985

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“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.

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