Shao Dazhen (Honorary Director of the Theoretical Committee of the Chinese Artists Association, Professor of the Central Academy of Fine Arts, Doctoral Supervisor):

Ding Guanjia is good at handling space, paying attention to the angle and depth of composition, interweaving in close shots, and expressing profound space. Whether it is the balance of business position changes, the square and thickness of lines, the dryness and wetness of ink, the brightness and darkness of colors, or the warmth of colors, in his paintings, he is closely subject to the expression of the unique beauty of objective objects and his subjective emotions, and to the expression of artistic conception. It can be seen that what sets Ding Guanjia apart from others is his passion for sketching and creating. Therefore, the landscapes in his paintings contain strong emotions and create artistic conception.

Ding Guanjia has made rapid progress in recent years, not only due to his talent and diligence, but also due to his reading and thinking... The spiritual connotations of his paintings in recent years have become increasingly rich. More importantly, he demonstrates strong creativity and rich imagination in his current creations, presenting a rare and admirable demeanor. For Chinese ink painters in their fifties, they are not very old. I believe that as long as they continue to adhere to tradition, sketching, and creation, persist in learning and exploration, their future is limitless. (1989)

Xue Yongnian (Director of the Theoretical Committee of the Chinese Artists Association, Professor of the Central Academy of Fine Arts, Doctoral Supervisor):

In the late 1980s to early 1990s, Ding Guanjia's landscape paintings entered a new era where language became more purified, meaning became more profound, and spiritual appeal became stronger. It can be seen that Ding Guanjia's landscape paintings during this period have broken away from the limitations of Ji You's landscape paintings, and are leaping towards a realm that deeply penetrates people's hearts. Not only is the atmosphere more grand and the mood more intense and profound, but the painting style also emphasizes the seamless integration of brush and ink rhythm and flat composition. If his works are still compared to poetry, then in the past, he used to sing the ordinary and moving scenery at will, but now it is a deep admiration for the magical mountains and rivers and the long history and culture of the motherland. (1993)

Li Song (famous art critic and former editor in chief of Art magazine):

Ding Guanjia broke away from Fu Baoshi's painting style and sought a new path. "Moonlight", the moonlit night is moving, but how to draw "the bright moon on the river"? He purified the scene to a mere expanse of ocean, a distant mountain, and used overlapping short lines to depict the ripples of the river. At the intersections of the lines, scattered moonlight fell on the smoke waves. He portrayed an image of the natural beauty that requires long-term observation and emotion. The river water depicted by Ding Guanjia has various personalities and atmospheres. He used indigo and light ink to wipe out waves and rolls; The dense ink of the mountains and trees contrasts the waves as flat as a mirror. He went to Xinjiang and created masterpieces such as "Impressions of Flame Mountain". He painted various impressions of the high mountains in the border areas: the white snow, the red flame mountain, the dark Pamir Plateau, and "Golden Mountain Slope" with only a red leaf tree visible. Some are refined to only a few large folds, but their grandeur remains unchanged, which is the profound impression left by this Jiangnan painter by the exotic scenery.

Ding Guanjia and many Jiangnan painters have quite different aesthetic pursuits. (1992)

Yuan Lin (Famous Art Critic and Professor at the Central Academy of Fine Arts):

Ding Guanjia is precisely a painter who has made achievements and actively explored. His works have a distinct sense of the times and modern appearance, which is my first outstanding impression.

Some people believe that Eastern and Western art are irreconcilable. Starting from Lang Shining, including some modern masters, we have been exploring the integration of Eastern and Western art, while some have only compromised but cannot achieve seamless integration. Lin Fengmian and Wu Guanzhong are outstanding individuals who have achieved success, and I believe Ding Guanjia is also a pioneer on this path of success. (1992)

Ma Hongzeng (Famous Art Critic and former Deputy Director of Jiangsu Provincial Art Museum):

Ding Guanjia is a painter with a clear mind and profound thoughts. He chose a steady and gradual path of change. Throughout Ding Guanjia's exploration trajectory, he has gone through a transformation from realism to freehand brushwork, from complexity to simplicity, from stability to uniqueness, and from intensity to elegance. (1986)

Du Zhesen (renowned art historian and former deputy editor in chief of Art Research):

The water towns in Jiangnan have a beautiful and picturesque culture. Influenced by them, their artistic style is often imbued with ethereal and timeless elements. Mr. Ding Guanjia's previous traditional Chinese painting creations have this aesthetic character. But the works exhibited this time have undergone significant changes in artistic style, both in terms of brushstrokes and artistic conception, which have distanced themselves from previous creations and appear much stronger. Especially in a group of Xinjiang sketching creations, the paintings are full and thick, with a deep and vigorous atmosphere, and a masculine aura that touches people's eyes without any hint of sweetness. This reminds people that what people often say about "transcending oneself" and "being unique" not only rely on "internal nourishment", but also on "external reception", that is, breaking out of the inherent cultural atmosphere, immersing oneself in a new, even unfamiliar realm, observing and feeling there, opening up one's mind, enriching one's confidence, and finding new artistic opportunities, exploring new artistic languages and rhythms. Being able to do so will naturally promote the transformation and sublimation of one's art, truly realizing one's self transcendence. Mr. Ding Guanjia's new work has given us valuable insights in this regard. (1992)

Zuo Zhuangwei (Professor and Art Critic at the School of Fine Arts, Nanjing Normal University):

Ding Guanjia respects and has his own opinions on the traditional Chinese painting. He was educated and influenced by famous painters and professors during his college years: the greatness, profoundness, and grandeur of Fu Baoshi's art; Lu Sibai, Huang Xianzhi, and Chen Zhifo were rigorous in their academic pursuits and valued the fundamental skills of art; Qin Xuanfu's paintings are free and unrestrained; Yang Jianhou's diligent and hardworking artistic creation. These exemplary teachers have a direct impact on Ding Guanjia.

Ding Guanjia's landscape painting art is rooted in the foundation of traditional Chinese art and permeates a strong Chinese national spirit and temperament. His concept of human and nature is "integrated". His dream of "the ocean has turned into me, and I have merged into the ocean" is exactly where Ding Guanjia's artistic spirit lies, as the layman of Dongpo once said, "When you see bamboo, you don't see people. Not only do you not see people, but you leave it behind. Compared to bamboo, its body is infinitely fresh." Ding Guanjia's art has developed along this path, so "his paintings are authentic Chinese paintings because he has a sincere Chinese heart.".

Real life and nature not only shape and influence an artist's emotions and temperament, but also create a unique style for an artist. The landscape of Jiangnan and Zhenjiang once created the father and son of Dong Yuan and Mi Fu, so it is not surprising that Ding Guanjia emerged in contemporary times. （1988）

Zhang Qiang (former editor in chief of Beijing Art Daily, art historian, critic, and Canadian painter):

In the 1990s, Guan Jia's works were full of determination and talent, reaching their peak. He was adept at writing, lines, and colors, and could do whatever he wanted without exceeding conventions. In fact, these were only the artistic skills of artists, and there are many talents among contemporary painters, let alone gossip. His outstanding feature lies in the hidden behind the scenes, what is that? That self nature, that heart, that talent. The titles of "Two Trees" and "Fragrance on the River Beach" are vastly different. One is a desert pasture, and the other is a Jiangnan river beach. The huge difference in surface images gives people visual differences, but their essence is governed and governed by the same self nature; "The Mountains Are Not High", "Time Flows", and "Mountains, Clouds, and Waters" are all consistent, showcasing the artistic release of Guan Jiaxiong's self nature, which includes many aspects such as the infiltration characteristics of Xuan paper with creative media, the differences in the softness and hardness of brush hair, the different qualities of stone and water colors, and the movement trajectory of ink and water when the brush touches the paper surface. The tangible painting images appeal to people's eyes and are left to be judged by others.

I consider myself quite familiar with Brother Guanjia, and I admire his calm and indifferent attitude the most. He is close to nature, viewing the sun and moon, smoke and clouds, trees, water flow, flowers and plants, soil, mountains and rocks, deserts, and so on as equal beings. He never intended to enslave them or use them, but instead prayed for understanding and integration, and pursued the realm of spiritual unity. (Year 2000)

Chen Jiandong (Professor, Doctorate in Literature, and Art Critic at the School of Art, Jiangsu University):

Mr. Ding Guanjia vaguely realized the inherent connection between the misty rain and the chaotic source. So, he began a nearly decade long transformation in water painting art and succeeded in establishing the "Ding's Water Method". This unique technique can only be seen more specifically from his works, with great originality in both technique and visual effects. He incorporated Impressionist light and shadow techniques into the image, creating a sparkling and trembling visual pleasure by varying the degree of blending of water, ink, and color, as well as the organic differences in the intensity of moisture and ink, as well as the blank business location. He increasingly portrayed the clarity and emptiness of "water" in his paintings, using this technique to depict the light of dawn, sunshine, moonlight, sunset, and even the starry sky. (2008)