Among Ding Delin's landscape paintings, there are huge works reflecting the famous mountains and rivers, and there are also ink paintings depicting the hometown feelings of Jiangnan gardens and water towns. In the construction of artistic language, Ding Deling is not only a guardian of traditional culture, but also an innovator of development. With his rich emotional connotation and unique artistic language, he has created a series of works of art that have both visual tension and pen and ink charm, and are refreshing.
Ding Delin is a member of the China Artists Association and a national first-class artist. He has successively served as the business director of Changzhou Liu Haisu Art Museum and the vice chairman of Changzhou Artists Association. Famous landscape painter.
Ding Deling's landscape paintings are rich and complex, simple and simple, but there is no lack of commonalities in the pattern: corner framing, chaos and rectification. However, his corner framing is different from the Northern Song Dynasty's panoramic landscape paintings with heavy rocks and mountains, leaving the sky above and below the exposed ground, and also different from the southern Song Dynasty's Maxia corner scene.
He often intercepts a certain part of the mountain, but can show the original ecology of the mountain, the scenery is concise, strong and concentrated, just like the close-up shot in photography, more aesthetic tension. The protagonists of such works are mostly rocks, miscellaneous trees and hidden farmhouses. The picture is full of primitive vitality and inexplicable momentum.
Ding Delin's chaos and rectification is a special artistic effect of painstaking management. Line and point, black and white, vertical and horizontal, complex and sparse, curved and straight, thick and thin and other language elements are interlaced and mixed, but complex but not chaotic, dense but not congested, chaotic and orderly, contrasting and unified, as a whole, showing a lush and deep, seamless momentum and rhythm. It is reminiscent of Shi Bao's "chaotic head and coarse clothes", Huang Binhong's thick Huazi, and Fu Baoshi's pen walking dragon snake. Of course, this is only an approximation of aesthetic orientation, not the same.
Generally speaking, the northern mountains of the painting are more bald and dry ink, showing the quality of the trees with old branches, the sparse leaves, and the mountains with more stones and less soil. The line curves to find straight, form a straight line with a large and small arc, hook with a small axe, and then strengthen the effect of waking up with a muddy point, which shows the thickness of the mountain and the vicissitudes of the years.
The painting of Jiangnan Water Town makes full use of techniques such as ink interpenetration, sprinkling, and condensation, and leads randomly due to the situation, does not deliberately, seeks nature, and is interesting and interesting. The "run" of water melting ink, color, and the "cang" of the pen constitute the beautiful and lush and diffuse Jiangnan charm.