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仕女圖 Ladies 鈐印：採花大盜（朱文） 簽條 款識：丁雄泉《仕女圖》，一九七 O 年作。 With one seal of the artist 丁雄泉《仕女圖》的創作可視為他一生描繪女性題材最早的起源，他以簡練樸素的線條找尋中國傳統水墨人物的精髓，加上遠赴歐美經歷過現代西方藝術的洗禮薰陶，歸納出跨越東西方藝術的「現代」，此作原型托自明代唐寅的仕女圖筆意，畫面上的仕女僅只留下能夠辨別時代的蓬鬆髮髻，沒有強調過多的個性，丁雄泉使用了像馬蒂斯畫作裡深黑的輪廓墨線，將仕女的體態抑制下來，以簡單、疾馳的筆觸掃過，營造出斑駁有力的視覺效果，與人物饒富興味的表情形成了強烈的對比，精準地捕捉到人物的精神與本質，在濕筆與勾勒之間作出黑與白的變化，展露出傳統筆墨中點與線的提取及使用，同時也能看出他早期對於拓本刻線的鑽研，企圖將原始藝術的直接應用於畫面；又以自然流動的滴墨作出仕女手中的捧花，將抽象表現主義的隨機性展露無疑，在墨韻的動態與純粹性中帶來視覺的震撼；看似不經意的畫面處理，卻是丁雄泉面對歐美新興藝術浪潮的反思，他不斷地在內心探問追求如何「以中潤西」：他以非傳統的仕女圖作出一種現代性的圖像，而畫面上「採花大盜」的紅色圖章則成為唯一能夠辨識他來自傳統國畫的傳承，如此大膽直接的表現也成為丁雄泉往後大量創作女性題材作品的起點。 This painting could be regarded as an early feminine depiction in Walasse Ting's artistic career. In his search of the essence of Chinese classical ink paintings through simplistic lines, as he immersed himself fully in modern Western art, Walasse Ting was able to conclude the definition of "modern art" in the combination of both the West and the East. This work is derived from Ladies of Tang Yin of Ming dynasty, suggested by the loose hairdos of the ladies in their simplistic depiction. Dark contour lines were used with reference to Matisse's paintings. Swift strokes and simplistic lines brush across the panel, imposing stark contrast with the delicate expression on the face which captures the characters of the ladies. Damp brush juxtaposes dark lines with white spaces, demonstrating the classical techniques of ink painting. Influence of stone rubbings could be traced in the blocks of ink, with the aim to incorporate primitive art to the panel. Ink drips from the flowers held by the ladies add spontaneity and visual impact to the painting. Such spontaneity was Ting's unique interpretation of the art movements in Europe and the US, and his constant quest to incorporate Chinese elements into Western art. By using an unconventional composition of ladies with a modern twist, one could only identify the Chinese element through a red seal of "Flower Snatcher". This work paved his way towards his other ladies genre paintings in his later career.