Two BirdsHanging scroll, ink on paper, inscribed by the artist with a dedication to his student Yuzhu, and signed Ding Yanyong with a pictographic artist's seal. 27 1/8 x 13 1/2in (69 x 34cm) 丁衍庸 鳥 水墨紙本 立軸Provenance/来源:Far East Fine Arts, San Francisco, California, May 1994加州舊金山遠東藝術中心，1994年5月Published/出版:Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2103, A50-251, p. 224戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版會，東京，2013年，A50-251，頁224Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Academy of Arts, 2007, pp. 512-513 Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年，頁512-513Exhibited/展覽:New Songs on Ancient Tunes, Honolulu Art Academy, Honolulu, Hawaii, August 30-October 28, 2007《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年8月30日至10月28日Ding Yanyong was a native of Guangdong Province. He studied art in Japan on a government scholarship beginning in 1920 and was admitted to the Department of Western Paintings of Tokyo University of Arts the following year. In 1925, he returned to Shanghai, and together with his avant-garde peers he founded art organizations to advocate for new and progressive concepts of art. Soon after, he discovered the power of Chinese literati paintings specifically Bada Shanren and Shi Tao. By adopting the substance of the earlier masters, Ding Yanyong created a style that is distinguishably unique. In this painting, the large eyes of the young birds are reminiscent of the aloof and solitary images of animals by Bada Shanren, however Ding's use of casual and simple ink dots and strokes to render the fluffy and goofy appearance of the birds has successfully created a sense of animation and humor.丁衍庸，廣東茂名縣（今高州市）人。一九二〇年獲廣東省政府保送赴日留學，秋天進入東京川端畫學校補習素描。一九二五年冬學成返國，與陳抱一、關良、陳樹人、高劍父、倪貽德等志同道合的藝術家成立多個美術社團，積極宣傳新的、進步的藝術理念。1929年因參與籌備廣州市立博物院，接觸到古代書畫及金石文物，從八大山人、石濤的畫作中汲取靈感，開始了融合中西的藝術追求。丁衍庸對八大山人（朱耷，1620-1705）的精簡筆法及構圖推崇備至，常在其傳統水墨畫中追隨後者的簡練風格並融合西方現代藝術元素。在本幅中，雖然雛鳥的大眼睛讓人聯想起八大山人筆下孤高倨傲的動物形象，但丁氏以隨性墨團加寥寥數筆渲染出雛鳥之絨毛與憨态，卻成功地在畫面上營造出靈動與幽默的氛圍。