丁衍庸

款識：
Y.Y.Ting 7/3. 72

香港佳士得拍賣（二〇〇五年五月二十九日，拍品編號二百六十二）
現亞洲藏者直接購自上述拍賣

This work is in overall very good condition. There are hairline craquelures on the lemon. There is no apparent inpainting under UV light examination.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

器物出繪畫，古意生抽象

《花瓶與檸檬》象徵丁衍庸於靜物題材上之革新。靜物乃丁公西畫常見題材，主要透過花瓶和鮮花，以體現豐富鮮明的色彩之美；六、七○年代開始，丁公的靜物畫開始出現變化，其對象不再是一般生活所見的瓶花，而改用高古陶器，作品焦點亦從過去以鮮花為主、花瓶為輔，轉移至器皿本身。高古陶器的表面紋飾樸拙傳神，具有先民藝術的原始、真率之趣，與丁公所追求的審美格調一致，其融化於作品之中，使之不僅是一幅西方意義上的靜物，更是一幅傳統意義上的「博古圖」，同時賦予人物形象與敍事性。畫中左方人物牽狗荷耡，右方人物挑擔提簍，一耕一獵相遇路上，以極簡線條表現原始社會所追求的幸福生活，亦蘊含了他對「有餘（魚）有米」、「團圓常滿」的美好祝願；同時，畫面右下方置入一枚新鮮的青檸檬，其色澤與整幅作品構成強烈對比，突顯了經數千年沉澱的文物，與新鮮採摘的水果的時間相差，由此說明作品並非純粹的紀錄古物，而是一種現代性創造。

丁公對於古物的研究和興趣遠出於同儕，成為他從西洋藝術返回東方之契機。本作除了貫徹丁公混樸的書法書條，更值得注意的是其色彩運用。畫面採用高飽和度、具有暖意的蜜紅色調，源出於陶器（terracotta）胎色。丁公巧妙地將這種色彩轉化為背景，與前面的物象結合，即具有抽象構成之意味，整幅畫布彷彿成為古陶畫板，上面以篆刻線條呈現的器皿，倒成為了繪畫，給予觀者一道看似簡單卻連環相扣的謎題，可堪玩味不斷。