Between Calligraphy and Image: The Interfusion of Pictorial Text and Oil Painting in the Works of Ding Yanyong
DOI:
https://doi.org/10.69598/sbjfa281291Keywords:
Ding Yanyong, Pictorial Text, Oil Painting, IntegrationAbstract
As a seminal figure in twentieth-century Chinese modern art history, Ding Yanyong (1902-1978) transcended the dichotomy between Chinese and Western artistic paradigms in his oil painting practice, articulating a visual language fundamentally centered on imagery. This visual language derives not only from the formal reconfigurations of Western modernism but is also deeply rooted in traditional Chinese cultural arts, particularly within the visual logic of Pictorial Text. This paper attempts to draw upon the comparative research methodology within cross-cultural art history to analyze the formal and conceptual interactions between Ding Yanyong’s oil paintings and Pictorial Text. By delineating the systematic assimilation of diverse Pictorial Text elements in his works, this study examines how oil painting becomes a modern vehicle for perpetuating pictographic culture, and demonstrates how this aesthetic practice constructs Ding Yanyong’s distinctive pictorial visual system.
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