Embracing Mountains, Cradling Rivers

188金宝搏官网登录 ,袁进华于龙坞

  The later one dealing with creation requires him devote all his
talents to the practice of finding out the modern discourse forms and
the Multiple complement of the traditional recourses of landscape
painting. What is the most creditable is that Huang Yue can settle down
his mind on studying modern art regardless of the worldly pursuits , he
keeps the spirits of his own and tries to be away from the extravagance
and the superficial, he does not choose the Western style sword or
Chinese martial art of using Eastern knives to dazzle the populace ,
neither does he choose to rely on the Chinese art of using swords like
poking, chopping, scraping, covering, pointing and so on, instead, he
only takes the sword on his hand as the tool for practicing West-style
poking. In the chaos of the world of modern Chinese Art where all kind
of patterns show up , he chooses the heavy sword made of black
steelpaying attention to the live drawing, collecting the fantastic
materials, inventing the works with originality, deepening the
understanding of the traditions to find new styles on the basis of the
traditional art. Stressing on the self-cultivation means that one does
not have to care about the shining decoration on the point of the sword
but store all the powers into the body of the sword as well as the
skills of practicing the sword.

  The exploits from our raging era will ripple into the unforeseeable
future.

  To sum up, attitude could be conveyed based on Series Landscape, and
also, regarding human like all animated nature. No privilege, no stress,
and no more thoughts, theory, therefore, and recreation like make a
sightseeing tour is still.

  Vigor(2001), Dancing o f the Brush(2005), these two works
contain the new elements in inks that traditional Chinese painting lacks
in terms of formation and graphic symbols. Huang has already advocated
something unique by creating the works as follows: Mountains and
Rivers(2001)、Clouds Over the Secluded Gully(2001)、Fresh Rain on
the Serene Mountain(2003)、Random Sunlight Cast Shadows upon Millions
of flowers(2005)which are of a harmonious integration of image and
abtractness.

  Inspired by the mystic mountains and magnificent rivers of China,
the aptly titled Embraces translates the delicate juxtaposition between
natural and artificial worlds by employing techniques of composition
from traditional Chinese painting. Charcoaled landscapes and whitewashed
temples stand sharply against mountains and rivers interpreted in
enigmatic washes of grey. This shadowy vista is a spiritual home to wise
souls and battered hearts.

  现在某些方面,含盖了过去,现在所做的一切也许牵引到未来。

  Zhang Dai said, One should not make friends with those who dont have
any hobbies, for they might not possess the deep emotions for anything
or anyone, and one should not make friends with those who are out of
defects, for they might be too perfect to be human. Similarly, in the
world of arts, the paintings without defects are not worthy of criticism
for they are short of vigor. One who is critical is the true buyer. As
for the subjects of landscape painting which Huang Yue is dealing with
at present, what one who knows his arts expects is also his own
expectation: it is essential to improve the skills to be more true to
life. It is true that a brand new outlook will be unfolding. Huang Yue
is still in his 30s and the future is yet to come. But what progress can
be made shall come out at the end of the day. At last, I want to end
this article with the Buddhist QingYuang WeiXins words, Mountains and
waters you see is what you see, but they may not be as what they are,
while they are still what they are.

  有人的地方就有江湖,庙堂亦如是。而山水,他的主体资格并不依赖于人的介入而成立,我们需要做的,大概就是放弃占山为王的草寇禀赋与人定胜天的拆迁心态,成为一个环保的观众,惟其如此,我们这些人生的看客们,方能于庙堂之高,江湖之远而外,放开胸怀,倾心叠抱。

  抱抱系列取名为山水,山水顾名思义一般是泛指名词,山与水,而我把山水归纳到动词的范畴,古人日:山水,游山玩水,是有动作行为取向,它是轻松,写意,带着愉悦的心情去游戏玩耍,在这里抛弃了人对权利与物欲,回归到人最基本的自然态。与地球上的一切动物一样,共同进入生物链中。拥山抱水,胸有丘壑,天地之间,尽在心中,关内,关注内心,更多的注重与体验生命独立个体,自觉地进入微妙精神层次,这里的山水,都具有象征意义,是净化的心灵世界。拥抱山水在不经意间,吻合了中国传统文化,清修,少思寡欲,方能得道。老庄学说中以退为进,出世的最高境界。

188金宝搏官网 ,  All in all, these works are created on the style influenced by
Poetry is found in the picture as advocated by a school Nanzong, and
also following the theory originated from Yuan dynasty on painting
Paintings are created not with skills but Inspiration. In forms and
tastes, they are corresponding with what Zhuda of Qing dynasty
advocated, that is the forms of flowers and birds full of real vigor
with a harmony of black and white, the wonderful use of dots and lines
in Shi Taos Scroll of Pictures of Millions of Black Dots and the
fantastic paintings on mountains and rivers done by Huang Binhong. In
graphic structures, technique arrangements and semiotic systems in inks,
these works show their own charm by differing from the traditional
paintings as well as the contemporary ones, contributing to the art of
landscape painting as a kind of new fine art.

  抱抱系列脱胎于山水,在中国传统的行为空间三分法中,与山水对应的是江湖与庙堂,江湖带黑,庙堂泛白,而山水可以或者曾经被视作仁智之乐的灰色精神家园,在这里,人们试图望峰息心,窥谷忘反。

  In modern society, unemotionality comes to the relationship between
men. Meanwhile, selfish desire are burning greatly with strongly
utilitarian, both for things and people. So, People tend to be ruthless
when it comes to their own environment. Why? The desire of appropriating
more of the gains for themselves, without the consideration for the
living place and future generations, result into the globe destroyed.
For instance, People in the mad chase of resource around them, like
nature, water, forest and raw oil.

  All his works are known for their novelty in expression and styles,
their strong visual effect, he comes out with some works wild and
repetitious by changing the traditional way of painting, somehow he
utilizes others ways in painting to brush out the what he really want to
express, or he produces some works known for profound beauty by breaking
up the clichsthe arrangement of the dot, lines and planes and the
handling of different forms help make the whole work not only express
the musical rhythms but also exhibit various kind of charms, and all
these demonstrate Huang Yues erudite knowledge and deep understanding of
the abstract art and also show his rapacious imagination on the nature
endowed with poetic elements.

  Men populate the paths they tread with structures and delineations
while Nature does not rely on human interference to define itself.
Perhaps we should abandon this curious human disposition of bending
nature to our will and conquer the tempting motivations of superiority
that push us to demolish and shape our landscape. If we adopt a more
acquiescent stance, it is possible for us to appreciate the raw beauty
of our world and embrace life with magnanimity.

Yuan Jinhua in Longwu, Hangzhou

  From the perspective of discussing ones work after knowing ones
background, Huang Yues perception of art, his personal construction of
the artistic system of landscape painting ,and his orientation of style
are closely linked to his teachers and familys influence , his own
traveling experience and temperament. His family has a rich education
background, his father Huang Yuan(Hairu) is a professor from the
department of traditional Chinese painting. He is also a famous
landscape painter, calligrapher, having a profound cultivation for
Sinology , with a mild and open disposition.

  现在所见的,涵盖了过去,现在所做的,必然牵引到未来。

  作品山水系列,表达的是一种态度,把人当成普通的一个生灵,没有私欲,抛弃一切负担,不要求承担太多的思想,不要求有深刻的道理,只是向人们声明没有了欲望,人也可以有这样的娱乐活动。

188金宝搏备用网址 ,  The second stage ranges from 1996 to 2000: the formulation of his
personal style for painting, in this period he tried to decipher and
reconstruct the old form of traditional painting with pen an ink and
started his exploration on the innovation of landscape painting formula
as well as the visual expression of the colors. What is else, he
simultaneously incorporated in his the landscape painting with imagism
and abstract art as he had delved into the study of the pure imagism;

  The essence of a time gone by is distilled into the works currently
in exhibition.

  The symble of Baobao could be noticed anywhere of mountain,
especially the peoples actions happening, and they are full of
warmth,intimacy, credit, refuge, enthusiastic, goodliness.

  Professor Huang Yue has created a great number of works in late
1990s, among which most renowed are Yu Qi You He (Clouds Over Secluded
Gully) and Li Hu Ru Xue (Pear Flowers with New Snow). All his paintings
are filled with vigor, clarity and fragrance. The novel forms of
landscape, the semiotic system with distinctive personality, the
wonderful stroke of brush, the construction of sheer Oriental artistic
conception, the poetic expression of humane cultivation and cultural
awareness gain wide compliments for their academic value and artistic
taste and make his works eye-catching to contemporary artistic world
amid the surges and falls in exploring and experimenting landscape
painting. In fact, he has already delved into distinctive expression of
landscape painting as early as the beginning of 90s, creating some
excellent works like Lan Se Kong Qi (Blue Air).

  Introduction

2011.4.20

  Hence, the works created by him in his primary stage can be said as
the achievements that he came out with thoughts after he had learnt how
to paint in the beginning, the first stage of his career of painting can
also serve as the new start for his embarking on the study of landscape
painting since he had accumulated experience from the south.

  现代社会人与人之间,变得冷漠,个人私欲越来越膨胀,功利性非常强,对旁人对事对物甚至对自己的生存环境也毫不手软。毫无怜惜之音,都想占为己有,把它消耗掉,根本不理会他人,甚至后代,人类对自身生活的自然生态、水森、原油等资源破坏性的疯狂占有夺取,最终导致用自己的双手毁灭这个地球。

  Generally speaking, what he had leant from the classic landscape
painting work named Helmit by Wang Meng and other works during the years
of his studies is mainly about how to use the inks delicately, this
helps him to enrich his works when he want to have a switch in his
creation. Though he started from a very high level, he had been greatly
influenced by the way of painting of many teachers and masters. It is
certain that the essence of these works exhibit the painters approval of
the value on stressing the new expression of modern landscape painting.

  The inspiration of Series Baobao comes from the character
Landscape。I concluded this word as verb, although it indicates mountain
and water normally. And it was well said: Landscape means enjoying the
sight of mountains and rivers, which show the property of action.
Moreover, the original status of human could be recovered because people
make a sightseeing tour with a good mood and abandon the privilege and
material desire. So, just like other animals all over the world, we come
into the biological chain, we Embracing Landscape and holding hillock
and mountain in mind, which all come from the soul. More attention is
paid on the individual life and the level of spirit, which show the
symbolization of Landscape. Accordingly, embracing landscape closely met
the traditional Chinese culture, such as meditating in utter silence,
and lead to success. That is the key philosophy of Lao Zi Retreat in
order to advance.

  Take a look at his main works in the last 20 years, we find that his
language in painting includes pen and ink, and colors. We can also
realize that the expression of these paintings compromise the combining
language forms of images, concrete images, abstracted images and
semiabstract images with the first form in the dominant status. His
process of creation can be divided into four stages: the first stage
ranges from 1991 to 1996: the period he embarked on the creation of the
new artistic language for landscape painting, establishing the adoption
of the language formula of painting using both colors and pen and ink,
and setting the orientation of his style with inclination to be delicate
, elegant and poetic.

2011.4.20

  The way of painting fails to show any personality, yet the later
works in his first stage of painting present his style and stresses in
art. Besides, the paintings of this stage emphasized the construction of
the artistic conception and the pursuit of mystery and elegance in
style, what should be noticed is that all of these have a close link to
his practice of life drawing and his own experience. As for the relation
between the painters experience and the painting, its always said that
he was supported by the nature. Xie Wuliang also said in his poem by
telling the same truth Being afraid of the exhaustion of talents, I
visit the place once again to find inspiration through the sound of
waves.

  Nowadays, some aspects consist of the past, as well, probably all
the action of today shape the future.

  From the year of 2000 till now, this is the period for the third and
fourth stage in his painting, it is found that the thrust of painting
and innovation gained grounds and deepened. On the one side, the
achievements Huang Yue had gained in the life drawing at the botanical
garden in Xi Shuang Ban Na helped him become quite agile and familiar
with the use of graphic discourse in painting, and his personal style of
using inks and formulas had become mature and natural; on the other
side, his long training on sketches of images and abstracted images gave
him an opportunity to have a deeper awareness of the forms of painting.
These two aspects contribute to his painting of imagistic mountains and
rivers in a mature way, leading up to his further exploration on the
abstract landscape painting and the painting with the combining imagism
and abstractionism together.

  山水中的人物动作到处是抱抱符号,它充满了温暖、亲近、信任、依赖、互助、积极、美好。

  Among all these works, the painting named East Wind Made Thousands
of Winds Blossom at Night is the successful example for him to display
the function of the materials and explore the visual art in this period.
In his further studies in the imagism of landscape painting, he started
to explore the art combining the imagism and the abstract styles, like
Pear Flowers with New Snow and Symphony have shown the skill of dealing
with the complicated arrangement of the ink and color, the orderly
formation of the forms effect and semiotic formulation, to create the
works full of musical rhythms, like half reality and half dream. From
then till now, Huang Yue has been put endless efforts to make his
creation more varied, elevated and wonderful on this basis.

  The trail of Professor Huang Yues pursuit of art is quite clear, if
we had a chance to savor all his main works since he began teaching, we
could see the image of a thinker as well as an explorer of pure artthe
piety for pursuing true art , the awareness for authenticity in
creation, and the talents for innovation under the context of pluralism
in modern landscape painting, with different schools pursuing and
exploring various forms of art.

  Just like the old saying : Wangxies disciples carry a special
temperament of their own., Huang Yue has been imbued with fathers
gradual influence, extending from the taste for art, personality and
disposition, to the other aspects.

  We can review the elegance and independence of art through the
landscape paintings by Huang Yue. If we savor the works carefully, we
will find the refined skills in pen and inks, feel his full involvement
of the nature and cares for the ultimate. The intention of the painter
is as clear as crystal.

  The lines of no regular length are simple, complicated and mixed
with the flying dots in the painting. Radom though they seem to be, they
play quite an important role in regulating the rhythms of the picture
and are quite reasonably placed. The reason why he can reach to this
high level of mastering the art is that his release and self-conscious
display of the achievements he gained from the study of the relation
between the painting, basic forms and continuity along with the
traditional Chinese painting since middle 1990s. As for the efforts he
made outside the painting, it is known that he has a quite good
cultivation in literature and classic music, and the exploration for the
music nature of the painting has a lot to do with his own cultivation in
this way, their relations are just like the inner relations between Ti
or knowledge, and Yong or practice.

  By embracing the environment of benevolence and wisdom, one can be
endowed with gifts from the heaven; so can be wise and talented as one
may be. The painters experience in life and his meditations on life
gradually grew, which also greatly promoted his knowledge, these
definitely help him broaden the vision and become more tolerant, leading
up to the influence on his works.

  Heidegger once said, The duty of the poets is to return to the
homeland. Returning to the homeland is to make the motherland the source
of art creation, and return and approach the source. Taking a look at
the great number of works created by Huang Yue since 2000, one can see
how his artistic spirits flying high in the sky and his eulogy towards
life, and also perceive his profound meditation on emptiness and
existence , life and nature, surreal and real worlds,—his works are
attached with a complex of returning to the homeland, and this can be
said as his honor to traditional Chinese philosophical thinking with a
spiritual horizon of modern people, and also a unbosoming himself to the
destination of his spiritual journey, fulfilling the task of questioning
and introspecting his own heart through the mountains, trees, waters,
stones ,clouds and smoke in the painted world.

  Rivers and mountains can be found everywhere, their grandeur beauty
as well as the rich implications linked to reasons of life are
inexhaustible. Mountains and rivers complement one another as they have
always been with their opposing features: the stillness versus the
movement , the hardness versus the softness. They get involved with one
another in a capricious but natural way imbued with the theories of
Taoism. Appreciation and admiration for natural scenery take root in the
true nature of Chinese people, they have a natural born taste and
understanding for the natural beauty, they have endowed the mountains
and rivers with poetic elements and spiritualism, which are intertwined
with peoples meditation on philosophical matters: The wise enjoy the
waters, the benevolent enjoy the mountains ( the pleasures of the wise
and the benevolent), the highest excellence is like that of water, the
sound of the streams is that of the Buddhists whereas the mountains are
the bodies of truth, Communication with the spirits of heaven and earth,
One has gained a great surprise in finding the real bosom friend from
the mountains and rivers alive with spiritualism.the natural sceneries
pleases the eyes and the mind. Various kinds of cultural interpretations
of these natural sceneries add more charms and splendor to the raw
beauty of mountains and rivers. However, the best way to capture the
temperament and spirit of mountains and rivers could be no other than
the art of landscape painting which have enjoyed a long artistic history
in China. It makes up for the limitations of words and lines dedicated
to depicting the natural scenery.

  Before reaching to this stage of painting, he had spent a long time
in the areas of Si Chuan province where there are wonderful mountains
and rivers, besides he had done life drawing when he visited Mt. Hua,
Mt. Huang and the south part of China, he observed the scenery
carefully, meditating and pouring out the inner emotions . These
experience of art and traveling have all kinds of links with the
construction of images in the works of this stage, yet the
characteristic of drawings is decided by the authors personality, the
influence which he gained from the local surroundings and customs on his
temper cant be ignored. The experience of life drawing in his later
stages does not only closely link with the works in different stage but
also possesses certain connection with the temperament of the human
beings in terms of its funny composition of images and the expansion of
the types of styles.

  The third stage ranges from 2000 to 2005: the manifestation of his
personal style, in this period he managed to combine the expansion of
space, the pattern language and the personal formula of pen and ink
together in a creative way; the fourth stage starts from 2006 till now,
he focused on exploring the visual expression of the pen and ink,
expanding the ways of expression and types of style. His study of
imagism in landscape painting matured. He delved further into the
combining form of abstract art and imagism in painting and began his new
study of abstract landscape painting.

  Thirdly, he chose the romantic and mysterious elements as the
dominant feelings flamed into the space of mountains and rivers,
adopting the method of alienating the landscape images from the real
world to present the self-centered way of appreciating the natural
beauty.

  He started his training very early, accompanying his father learning
the traditional Chinese painting and going out to paint in the field as
early as 8 years old. He has laid a solid foundation in terms of his
understanding of traditions of Chinese painting, his awareness of the
relation between the innovation and the theory of treating objects as
teachers, and his self cultivation outside the sphere of paintings.

  These works are imbued with the typical scents of poetic elements
found in mountains and rivers. As for his special style and art in
painting, he created the work Village in the Mountain characterized by
leisure and comfort, the Wind Coming from the North West in Gui Zhou is
full of mighty elegance and beauty, the romantic and mysterious works
like East Wind Made Thousands of Winds Blossom at Night, and so on.
These works are not copies of the former painters but also different
from the works of his contemporaries.

  The works of this period are mainly composed of three collections:
the wild and fantastic expression of lines, the inkwash expression, the
eccentric and cool expression combining forms of images and lines. Yet
all these works keep their quality of being elegant and delicate built
on his early works featured by fantastic images.

  Therefore, it is rare and desirable for the landscape painters to be
able to follow the principle of inheriting the valuable elements from
the ancestors without going against the contemporary trend when dealing
with visual language, to be able to explore new formulas of pen and ink
and express their authentic understanding of the spirit of mountains and
rivers. In this sense, Professor Huang Yue from the department of
traditional Chinese painting in Si Chuan Academy of Fine Art has given
us a good demonstration. His achievements in landscape paintings in
recent years provide us with a typical version of Contemporary landscape
paintings rich in academic value.

  It is no wonder that he had already devoted himself to the
meditation on the future direction as well as the innovation of
landscape painting at that time, thus he had input the universal
poem-related themes into each work and implanted his own heartfelt
thoughts along with pulses into cultural sphere, combing the spirit of
mountains and rivers with the forms of language. All his efforts help
make his later works immersed with deep humanity and philosophical
appeal.

  The thoughts and inspiration he gained from this relatively long
term contributed to his paper entitled Searching for the formula of
landscape painting with personality. Therefore, it is needless to say
more words about it. All of these help him win self elevation in a
relaxed and quite way, laying a foundation for his future jump in his
career by infusing into his art enough power as well force .

  Li Changji once said, Paintings with brushes can make up for what is
lacking in the world of natural beauty , just like that art can show the
paramount beauty of things. Dong Xuanzai also said, Real natural beauty
overshadows its painting in terms of eccentricity and uniqueness, yet
the paintings will surely be more delicate and refined than the
combination of words to describe natural beauty . This comment clearly
and directly pointed out the mystery as well as the wonder of the art of
landscape painting. For many dynasties , the landscape painters have
made the best use of their talents and abilities to compete with one
another in terms of artistic skills and attempted to convey the spirit
of mountains and rivers with heart and soul, what is else, they have
gained insight and visions from the cultural perspectives of different
schools like Confucianism and Daoism and expressed them in their
painting, combining the spirits of natural scenery with metaphysical and
philosophical thoughts to construct an artistic world of landscape
painting that is pure, serene and deep. Fu Shanchang said, The use of
pen and ink best show ones nature and temperament. The skills of
painting are akin to Dao, a real art. The brush made from a few hair of
a beast has the power depict nature and imagination. Not merely art
creation in ivory tower or just limited to vivid images of mountains and
rivers, but a true epic written with life. We can also put it in this
way: the artistic history of landscape painting is also a history of
evolution in the style of images in landscape painting and the forms of
pen and ink, in some way, it represents the key dimensions of a nations
history of mind.

  Nowadays, compared with the trendy modern art, the art of
traditional Chinese painting that advocates the forms and lines has
already fallen into an embarrassing state, there is no need to dwell on
this matter. However, as the most shining component in the world of
traditional Chinese painting, the landscape painting encounters a
dilemma. Against the background of the dramatic changes in the means of
communication, the representation of space and cultural context, a great
number of landscape painters are confronted with the problematic
subjects: How to express the world of mountains and water from the
perspective of a modern artist under the context of contemporary
culture? How to create a kind of visual language of landscape painting
that caters to the modern taste? At the same time, the celebrity effect
,the exposition effect , along with the market effect have led to many
bad phenomena like blindly following the trend , close breeding in arts
world, revealing the contemporary defect of the spiritual vacuum of the
artists.

  The general atmosphere in the Academy, the influence of the older
generation and the neighbors who often discuss the topics related to
art, all of these helped develop his interest for art and broaden his
horizon. As for the teachers, he benefited from many excellent teachers
apart from his father, and he received systematic training of
traditional skills in Chinese painting of academic school from the
teachers like Feng Jianwu, Li Wenxin, Bai Desong and so on. All these
teachers have given certain inspiration on his later improvement on
traditional skills in painting and his switch between the traditional
and the modern way of painting.

  Following the old saying Know your enemy as you know yourself, he
does not fail to absorb the advantages in the use of Western sword and
Eastern knife, in this way, he can accumulate lots of artistic skills
and enrich himself in order to fight back . Huang Yue clings to his use
of pen and inks and be happy with his own simple pleasure in the world
of modern art where fashions really count a lot, at the same time, he is
as cool as a cucumber to adopt what he will be in need of in his
creation in modern visual art with the help of his awareness of stones
from other hills may serve to polish the jade from this hill.

  After the middle 1990s, Huang Yue tried to enhance himself in
painting by doing the life drawing, busying himself with the studies on
the basic rules in the visual art, like the catch of the basic forms of
the objects, the space taken up by the basic forms, the relations
between the forms. He broke out the limitations on the sorts of
painting, giving a overall consideration on combining discourses of
plane-frame design, sculpture and the traditional Chinese paintings.

  The works created in this period are represented by Blue Air, Green,
Serene Villages, these works have already shown his self-conscious
exploration of new expressions in landscape painting. There are three
conspicuous features in these works: firstly, he downplayed the
traditional skill of Three-remoteness(deep, high, horizontal) by
introducing the conception of plane configuration into the visual
formula of landscape painting; secondly, he broke out the traditional
limitations on colors, mixing the use of modern colors with the
traditional pen and inks to achieve the effect of building up a realm
characterized by delicacy and elegance, secluded and refined in colors
and inks, and multiple scratches in random strokes.

  The second stage starts from 1996 to 2000, the traveling in the
northeast part of China and the life drawing practiced there added more
materials in his pursuit for natural visual art; what is more, he gained
better understanding of the studies on the materials and the traditional
skills and formed a conception of his own gradually; he also devoted a
lot to studying the deconstruction and reconstruction of the formulas in
skills employing inks, and learning from other painting styles, thus the
works produced in this period are mostly vivid and fresh for he began to
form his own style.

  In the year 1990, he carried his bags to pursue studies in HangZhou,
learning skills under the instruction of Zhuo Quejun and Chen Xiangxun
who are from Chinese Academy of Fine Arts. It was during this period
when Huang Yue had more practices and deeper thinkings independently in
many aspects: the review of classic landscape paintings, the study on
the discipline of the use of pen and inks, the construction of patterns
and handling of colors as well as inks, the awareness of styles, the
construction of semiotic system in pen and inks, the effect casting upon
the cultural meanings by the landscapes images and so on.

  From the year of 2006 till now, his works closely follow the style
of the achievements he has made in the first three stages, yet he has
been concentrating on the exploration on the expression of the visual
effect in pen and inks and searching for the expansion of scope for his
oringinality. Among these works, following the work Green Waves of the
third stage, and the works like Free Clouds, Soft Wind are for the
painter to explore more forms of expression of the same type in
painting; works named drifting amid image and abstractness; a series of
peculiar but delicate works represented by A dream in Fine Rains, First
Encounter with the Summer Rain, the work Asking for the Route in High
Mountains contains the form that is akin to the traditional ones but the
discourse of ink bearing the novelty; the works like Hills withered in
Cold Autumn Wind are painted with classic image language and input with
rich meanings ,yet the works like Withered Hills, Wind, Rhythm of Ink,
Clouds around the Peak of Godness tend to be abstract, expressing the
subjective ideas and conceptions through the pen and ink, which are
quite interesting and eyes-attracting. Some of his works are implicit
and lighthearted whereas some are extraordinarily free and easy,
reflecting Huang Yues personality. His style in painting mirrors his own
character and that is perfectly true.

  As a teacher in the department of traditional Chinese painting at Si
Chuan Academy of Fine Arts, Huang Yue engages himself in teaching and
creation simultaneously, he thinks these two tasks complement each other
in someway. The former one related to the theories, methods and skills,
this helps him keep a clear head with caution and think over and over on
the general thinking of the dialectic relations between the traditional
and the modern trend of Chinese paintings.

  The emphasis on the sense of order and music clearly showed in the
works of this period is the most conspicuous features that these two can
be connected closely and help create a great number of works.

相关文章