Works of Ding Shaoguang

Author: Yu Jinglu / XieCongrong, Editors
Publisher:
Publish Date: 1999-03-01
Features: The renowned American critic Douglas Frye said, "Ding Shaoguang's art belongs to the East, to the West, and to the world." With passionate thoughts, a sound mind, warm hands, strong lines, vibrant colors, and a powerful spirit, he explores new realms of art. Eastern painting emphasizes line, accumulating rich experience over thousands of years. The line is not merely a means of shaping forms but also expresses the artist's emotions, fluctuations, thoughts, philosophy, and beliefs. Ding Shaoguang's paintings are deeply influenced by traditional Chinese culture, which he considers ancient and profound in his concept.
"The trend of the 21st century will be Western culture pursuing Eastern culture. The I Ching of China, for example, has long been revered by Western philosophy as a profound book, harmoniously interpreting the interconnected relationships of any changes in the world. In today's world, where science has advanced to the point where it can either benefit or destroy us in an instant, heaven, earth, and humanity must coexist in harmony. The crisis of ecological destruction is currently the most important issue."
"Heaven and earth must follow the laws of nature; they cannot be defied. He cites the Tangshan earthquake as an example: 'Tangshan produces coal, and the ground beneath has been hollowed out. Meanwhile, the population in the city above continues to grow. A strong earthquake struck, and in a single night, 400,000 people lost their lives. This devastation was more intense than any war. If people had been relocated to other places before the disaster, this tragedy could have been avoided.' Ding Shaoguang strives for harmony in his art. In his paintings, we often see the fusion of Eastern and Western art. Eastern art emphasizes 'spirit resemblance,' as seen in the pursuit of 'embodied spirit in form' by Gu Kaizhi during the Eastern Jin Dynasty. In Xie He's 'Records of Ancient Paintings' during the Southern Qi Dynasty, the sixth principle of the 'Six Methods' is 'vivid spirit and vitality.' Chinese painting uses lines to shape forms and express the artist's emotions, thoughts, and beliefs. The traditional 'perspective of scattered points' in Chinese painting differs from the 'fixed perspective' in Western art. It allows the artist to create a sense of freedom on the canvas, where heaven and earth coexist with the artist, and mountains and rivers are as close as companions. For example, in the painting 'A Thousand Li of the Yangtze River,' the entire river, villages, and houses can be depicted on a single canvas—a feat Western realism cannot achieve.'
"Western art, originating from Greece, focuses on realism, scientific anatomy, perspective, and color. Classicism uses fixed perspective to grasp three-dimensional space, turning the artist into an optical instrument that accurately depicts only what the eye sees, without expressing inner feelings. The brilliance of Western art lies in its handling of color. Classicism emphasizes the contrast of black, white, and gray, impressionism in its early stages focuses on the contrast of cool and warm tones, while (Fauvism) and modern art emphasize the contrast of pure color and gray."
Ding Shaoguang believes that both Eastern and Western art have their strengths and limitations. Therefore, combining them organically can elevate the art of painting to a higher level. In his own works, we constantly see the influence of this fusion. Ding Shaoguang is using his efforts to bring Chinese art to the world while also introducing the essence of the world to China.