Lotus and Ducks 1976

Editor: Here we have Ding Yanyong’s "Lotus and Ducks," created in 1976 using ink on paper. I find it so charming, with a real sense of spontaneous energy in the brushstrokes. What do you see in this piece? Curator: I appreciate your observation about the energetic brushwork. What is most compelling here is the interplay between representation and abstraction. Notice how the lotus leaf is rendered with broad, sweeping strokes, prioritizing shape and tone over meticulous detail. Editor: So, the artist isn’t trying to give us a photorealistic depiction? Curator: Precisely. The focus shifts to the formal qualities. Consider the calligraphic inscription; it functions not only as text but also as a dynamic visual element, balancing the composition and contributing to the overall rhythm of the piece. It introduces linearity, acting as counterpoint to the more rounded organic shapes. Editor: That makes sense. And the ducks themselves – they are so simply drawn, yet so expressive. Curator: Observe how the artist uses varying ink washes to create depth and volume, especially in the lotus leaf. The touches of color—the red crest on the duck and the lotus flower—are strategically placed to draw the eye and enliven the monochromatic palette. Consider how these few points of color interact and energize the whole picture plane. Editor: That’s fascinating. I had not considered the colour balance between the red crest on the bird, and that same splash of red colour above, on the lotus flowers above. Curator: It is these considered balances which yield formal harmony within a piece. And that, in my view, is where the work finds its most powerful voice. Editor: Thanks, I learned so much! Curator: It’s been my pleasure.