Lightness and Leisureliness, the common comments of Chinese paintings, was originated from the Taoism in the ancient Chinese culture. It has never been moved for thousands of years that a state of quietness and emptiness is the root attitude of the Taoism while a sense of purgation and realization is the great value of the Chinese painting. In this way, Huang Yue is a sincere pursuer.
Huang Yue was born in an old and well-known family in landscape painting, who has been unconsciously influenced by what he constantly hears or sees from his father. Gradually, Huang Yue has become a kind man with an active nature and liking learning, modesty and respect, under the strict education of both family and school. It was a hard experience that the Chinese painting was in a dilemma over the past 12 years. Somehow on the way of seeking the truth of landscape paintings, Huang Yue always kept clear-headed realization, abandoning of temporary material gain, painting diligently and honestly. Huang Yue speared all his efforts to enrich the expression of landscape, so that he is good at infusing modern elements into traditional ink painting, building up an inherent quality and elegant atmosphere in every works. You may feel fresh breeze when you face to his paintings.
There are two basic methods of his works: One is color ink, another water ink. In the early 1990’s, Huang Yue, in the prime of life, was conscious of the expression of landscape Chinese painting in color need to be improved, especially in the abstract style. And then he created a series of conspicuous color paintings including Blue Air. Those works was no longer composed by the established light green, deep red but dense color. It was obviously that Huang Yue displayed his talent for the first time since all the expressions were full of energy and life, courage and insight.
Huang Yue suddenly turned to the creation of the most traditional ink painting in 2000. It was beyond the understanding of the mass, because the artist may fall short of success for want of a final effort by giving up the established expressive language but to the other. However, it is quite normal in my eyes. The ink water became more and more popular, which has been regarded as the fish for fame and compliment; nevertheless the style change of Huang Yue was no business of the above-mentioned situation but his new realization of water and ink, the answer to the latent Chinese cultural, the deep influence of the traditional culture. I would like to talk about Clouds Arise the Quiet Gully among all his water ink paintings. It was between the emptiness and reality, in black and write, of tradition and modern, filled with strong sense of Chinese philosophy. I still remember his book the New Thinking Style of Image Imagination that explored many expressive languages as well as color uses. Therefore, it was no wonder Huang Yue did a job with skill and ease.
It was an old saying that the style is the man in respect that the Chinese are used to get an understanding as a whole. It means the man and his works is a whole since the works is a reflection of his mental world, a load of his emotion. For this reason, Huang Yue did not care the skill level blindly, but trying to establish his personality. Since he was engaging in art, he keeps all the ways to get closer to the nature trying to realize the meaning of life in such a complicated real society. All of these experiences were the accelerators which push him moving on and on. That’s why we always see the outstanding style and rich cultural deposits in his works.
Looking at the works of Huang Yue, no matter of the rich color ink or the pure water ink, you may find his marching on the expressive language exploring, his ingenuous creation of natural landscape, his pursue of coincidence of traditional Chinese painting as well as modern aesthetics and visual appeals. It is the aim that he is seeking consistently, and also the reason why his works has been widely recognized.
It seems Huang Yue realized that Taoism is alive in the landscape, meanwhile in the human being.
Professor and Director of Chinese Painting Department, Sichuan Fine Arts Institute
李铁夫冯钢百领衔 作为群体的早期粤籍留美艺术家
张瀚文：以物质媒介具象化精神世界
翟莫梵：绘画少年的广阔天空
周杰伦都要去的伦敦弗里兹，到底有多火爆？
全部评论 (0)