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拍品專文
"Call it the painter's soul melting into the landscape, or the landscape melting into the soul of the painter, whichever you prefer. In a word, the painter has reached a state of freedom, and the essential, individual and real character of the landscape suddenly appears."
Huang Yongyu has an insatiable appetite for the assimilation of art, while subtle social and political experiences have shaped the type of art he produces. Huang preferred to paint large scale works on rice paper hung on the wall instead of spreading the paper on a desk as Chinese painting has always been done. This was not done with the intention of copying Western methods, but due to hardship and struggle. In the years of the Culture Revolution, Huang, his wife, their son and daughter lived in one narrow room belonging to the dormitory of the art academy, calling his home "Tin Can Studio". He was forced to use the wall, because it was impossible to squeeze a desk into the room. Huang attributes to this experience his ability to wield his brush freely on metres of paper while standing.
This painting is a prime example of the discipline Huang developed over the years to create large-scale flower pieces with technical prowess and vigour. His ability to capture the spirit is the result of his meditation; his ease and freedom are the rewards for his diligence.
Huang Yongyu has an insatiable appetite for the assimilation of art, while subtle social and political experiences have shaped the type of art he produces. Huang preferred to paint large scale works on rice paper hung on the wall instead of spreading the paper on a desk as Chinese painting has always been done. This was not done with the intention of copying Western methods, but due to hardship and struggle. In the years of the Culture Revolution, Huang, his wife, their son and daughter lived in one narrow room belonging to the dormitory of the art academy, calling his home "Tin Can Studio". He was forced to use the wall, because it was impossible to squeeze a desk into the room. Huang attributes to this experience his ability to wield his brush freely on metres of paper while standing.
This painting is a prime example of the discipline Huang developed over the years to create large-scale flower pieces with technical prowess and vigour. His ability to capture the spirit is the result of his meditation; his ease and freedom are the rewards for his diligence.