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As a wanderer in a foreign land and a painter with a dual cultural perspective, Huang Zhongyang has a special liking for the paintings of the British Pre-Raphaelite School. He seems to have found more commonalities with the Pre-Raphaelites in art, that is, to find the source of creation from the history, literature, religion and drama of his own nation, so as to better express his feelings and meanings. From his works "Xiao He Chasing Han Xin Under the Moon" and "Wu Qi Kills His Wife to Seek a General", the homesickness of a Chinese painter is deeply revealed in his watercolor paintings.—— Preface

China

painting

by: International Art Panorama

When exploring Mr. Huang Zhongyang's unique insights into the status of "realistic" painting in the context of modern art, we have to deeply analyze the multiple dimensions of cultural value, artistic evolution and personal emotions behind this topic.Mr. Huang Zhongyang's remarks are not only a firm support for the "realistic" art form, but also a profound reflection on the nature of artistic creation. His words reveal a deep understanding and respect for artistic tradition and innovation.

First of all, Mr. Huang Zhongyang mentioned that the "realistic" painting method is regarded as "old-fashioned" or backward. In fact, it reflects a common phenomenon in the contemporary art world - the constant pursuit of novelty and avant-garde, and a certain neglect or even rejection of traditional forms. However, as Mr. Huang said, this seemingly trendy trend sometimes reveals a kind of cultural impetuousness and blindness. Realistic art, as an important means for human beings to explore the world and record life, has a long history and rich connotations. It is not only a painting technique, but also a cultural bond connecting the past, present, and even the future. It requires artists to observe deeply, depict meticulously, and reproduce the true face of the real world with precise brushstrokes. This pursuit of reality is one of the sources of artistic vitality.

Mr. Huang Zhongyang emphasized that "science and art have no peak and no end", and this view profoundly reveals the internal driving force of artistic development. Art, whether realistic or abstract, should be a process of continuous exploration and breakthrough. Realistic art is not stagnant, but it is rejuvenated by constantly incorporating new elements and new perspectives. Just as he encouraged artists to "sincerely express the era in which you live", this is not only the core requirement of realistic art, but also the creative principle that all art forms should follow. At the same time, he also advocates boldly exploring themes in watercolor creation and breaking through traditional restrictions. This spirit of innovation is the key to promoting the continuous development of art.

Mr. Huang Zhongyang mentioned that "Zen Buddhism's Bodhidharma faced the wall for nine years", which is not only a way of practice, but also a manifestation of life attitude and artistic spirit. In the fast-paced modern life, artists are often easily trapped in the accumulation of technology and the pursuit of form, while ignoring the inner voice and the essence of art. Quiet thinking can not only help artists find inspiration and direction for creation, but also enable them to gain a deeper and unique artistic experience in the deep dialogue with themselves and the world. This experience will be transformed into a unique emotional expression and depth of thought in the work, making the work more appealing and vital.

Mr. Huang Zhongyang's view on the "realistic" painting method is not only a defense of a painting technique, but also a profound insight into the nature of artistic creation and the laws of artistic development. He encourages artists to stick to the realistic direction, be brave to explore and innovate, and at the same time not forget to think quietly and find the voice of their hearts. Such a creative attitude will undoubtedly inject more vitality and depth into contemporary art, making art an important bridge connecting the past and the future, reality and dreams. In this process, realistic art will not only not be "old-fashioned" or "backward", but will shine more brilliantly in the context of the new era.

I don't use color drafts when I do watercolor sketches. However, when I do watercolor works, especially large-scale works, I will definitely make a sketch first, and then a palm-sized oil painting color draft. I will only start the watercolor work after I am satisfied with the sketch and color draft. With the small oil painting draft as the basis for the color tone, the painting can be completed in one go without losing the richness of oil painting. This is a good way to overcome the disadvantage of watercolor painting being thin and light.

Oil painting can change the color tone repeatedly on the canvas, but watercolor cannot. After three or four changes, the picture will be dirty and lose its charm. Successful watercolor creation is the practice process and result of "having a plan in mind" and "holding the pen and looking carefully, then seeing what you want to paint".

It can be said that Huang Zhongyang's watercolor world "contains a combination of imagination and memory, as well as the contradiction between mystery and the unknown". "I hope that Chinese watercolor paintings are not just about painting landscapes and still lifes, but that watercolors can also control deep emotions like oil paintings." In recent years, Huang Zhongyang has incorporated more cultural factors of the fusion and collision of Eastern and Western cultures into his watercolor creations, hoping to express deeper historical feelings and national memories through the medium of watercolor.

【International Art Panorama】

Issue 3564—— He paints the ethereal beauty of the human body, and I can’t help but look at it again and again!

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