Form: oil painting on canvas
Dimensions: 200×400 cm.78 3/4×157 1/2 in
Year of creation: 2016 to 2020
Signed: HUANGYUXING 16-20.1 (painted back)
"The completion of a work depends on the opportunity, let alone a masterpiece of landscape."
"When you are in more pain, the light will come soon. In the big scene of water and sky, I merged into the mountains and rivers, turned the nine dragons into nine pines, and grew in the mountains, waters, heaven and earth blended with natural spirituality."
"Opportunity is very important, it may be just a moment, everything is right"
— Huang Yuxing
When it comes to the outstanding painting artists born in the 70s, Huang Yuxing is an unavoidable name. Different from the conceptualist collective inclination of his contemporaries, his works are always based on the feelings of living beings, retaining the touch to the greatest extent, and using expressionism Ways to sway the depicted object. From the use of deep colors in the early days to the more dazzling fluorescent tones in recent years, Huang Yuxing's creations have always been related to the experience of self-growth. In the constant travel, walking, and thinking, what remains unchanged is his understanding of people, life and the changes of the times. natural thinking.
The huge 200cm×400cm oil painting "Nine Dragons" (2016-2020) is a mature work completed by Huang Yuxing in more than four years. The inspiration comes from the Nine Dragon Wall which is attached to ancient buildings with high historical and cultural value. This precious material cultural heritage that combines dragons and screen walls is recognized as starting in the Ming Dynasty, and is now distributed in Beijing, Datong, Wutai Mountain and other places. As a comprehensive ancient art masterpiece, the Nine Dragon Wall often integrates glass firing, ancient building technology, carving technology and aesthetic connotation, just like a three-dimensional picture scroll with a perfect combination of spatial shape, decoration and color.
In traditional culture, the dragon symbolizes the supreme power, and the dragon wall as the screen wall of the building is often built in front of the palace, palace, and ancestral temple. In Huang Yuxing's view, the Nine Dragon Wall itself has witnessed history, and it is also full of the good wishes of the kings of all dynasties for the unification of the country and the great harmony of the world. And there are three important cut-off points for his encounter with Nine Dragon Wall. The first time was when he was in primary school, when he visited Beihai Park with his family, he didn’t know that the colorful glazed building he was facing was called Nine Dragon Wall. The second time was during the high school trip to Datong to study sketching with the school organization, and then he went alone to visit and study the art treasures of the Yungang Grottoes. obsession. As a Beijinger, the Nine Dragon Wall of the Forbidden City is the place where Huang Yuxing will stop every time he visits.
Recalling the encounter with the three Nine-Dragon Walls again, Huang Yuxing realized that what he paid more attention to was the situation when he was there. Small bridge, so the Nine-Dragon Wall there is more aesthetically pleasing in architectural art; the Nine-Dragon Wall in Datong has a more abrasive sense of time, and you can feel the desolation under the changing dynasties; the Nine-Dragon Wall in the Forbidden City is what the Nine-Dragon Wall in my heart should look like, representing power and unity , with a sense of light and oriental veins. Therefore, the Nine Dragon Wall is more like a plant in a bonsai, with different ages, dynasties and surrounding environments, the effects are different."
Based on this, Huang Yuxing did not copy the nine dragons flying through the clouds and fog on the Nine Dragons Wall in a realistic way. His treatment of the close-up did come from the texture of the Nine-Dragon Wall. Huang Yuxing's style is more elegant. Against this background, the close-ups are more powerful, and the whole is drawn with multiple perspective methods. The Nine Dragon Wall in his mind is the appearance presented in the "Nine Dragons Picture", nine vigorous and powerful pine trees replaced the image of the dragon, and the meaning of "Nine Dragons Picture". "Dragon is the auspicious animal of our Chinese nation, representing great unity; and pine, it is more humanistic, upright and noble, and persevering." In Huang Yuxing's view, the two have a universal nature that has been handed down from generation to generation. The gems, bubbles, rivers and other elements in the works are full of his thinking and exploration of life, time, and wisdom. Each element has been evolved to a relatively mature stage by Huang Yuxing, and thus gathered in "Nine Dragons" above.
In the foreground, the Taihu Lake rocks that seem to have grown out of the water support the pine trees, while the mountains and rivers are piled up in layers of smudged colors. The main peak in the middle scene rises head-on, the cliff rocks are in the shape of tigers and dragons, ravines are vertical and horizontal, the rushing waterfalls are displayed in vertical light-colored lines, and the vegetation in the gentle places is also outlined one by one. Huang Yuxing uses unique contemporary colors that would not be used in the color spectrum in the past, making the whole work burst out with powerful force. Through depicting the sublime and magnificence of the mountains and rivers, the layers of ripples on the water surface connect light and shadow, which should be consistent with the artist's view that "the movement and migration of water molecules cannot prove the irreversibility of time-they never change and never disappear. ", the light or treasure rising from it seems to lead to another dimension of time and space, reflecting the sky in the distance. Compared with "Light" painted in the 2000s, he is more skillful in controlling colors and lines. In Huang Yuxing's mind, this masterpiece is more like the epitome of the artist from his studies to the present, condensing the crystallization of each stage of his creation, and witnessing the process of his studies. "It represents my ambition, and it also motivates me to stay true to my original aspiration, and take every step of the path that a painter should take to pursue art." When such a huge work is presented in front of my eyes, the artist's spiritual and realistic pursuit The inner driving force of creation promotes the reflection one by one.
This "Nine Dragons" is Huang Yuxing's masterpiece in the "Great Landscape" series that combines Chinese classics, Western colors and oriental implication in recent years. From the Northern Song Dynasty to the peak of Chinese landscapes, Huang Yuxing started from the deconstruction of Wang Ximeng's green landscape "A Thousand Miles of Rivers and Mountains", and integrated his own thinking on the infinite power behind the universe, and painted a seven-screen giant "Seven Treasures Pine" and "Nine Dragons" across mountains and rivers. The viewers who swim in the series of abstract artistic conceptions such as "River" and "Bubble" will be brought back to the figurative world full of oriental charm. The mountains and rivers presented by Huang Yuxing in dazzling neon tones are like the epic masterpieces of the artist himself. But in his view, this series is not accomplished overnight, but rather a slow process of penetration, "The completion of a work depends on chance, let alone a masterpiece of landscape."
In 2015, Huang Yuxing launched a solo exhibition "Alluvial" at Shanghai Minsheng Art Museum, connecting his important works from 2005 to 2015 with a timeline. It is also from such a retrospective exhibition that we can see how his colors began to be released more and more. . The following year, his solo exhibition "ANDNEFORHTEDONNÁ丨Don't Fear" at Perrotin Gallery's Hong Kong space was titled on the inscription on the front of the tombstone of the Argentine writer Jorge Luis Borges, and he began to renew his own understanding from a new perspective. Outline the world and keep trying to carve a way to the center of life. Huang Yuxing recalled that it was during the period from 2011 to 2016 that he tried to make breakthroughs and completed two large-scale works - "Paradise" (2011-2015) and "New World" (2015-2016). The practice of trying the "Great Landscape" series started in 2016. "In my heart, I always have a dream of mountains and rivers, because I am a Chinese painter." Huang Yuxing said. The large-scale work "Freedom" can also be regarded as the embryonic form of his early landscapes.
The creation of "Nine Dragons" spanned several years, which originated from Huang Yuxing's constant attempts to negate and affirm, and then break through himself. He admits that his initial conception can be described as grandeur, which leads to countless choices in the way of presentation under the pen, and the struggle of self-consciousness constrains the artist's actions. "The earliest prototype of this work was actually the 'grove' series, which I wanted to express with nine towering trees. Later, it evolved into nine dragon pillars standing at the junction of water and sky, but I still feel that it has not broken away from the previous creation. The background, the evolution and breakthrough of the painting language itself is not achieved. This feeling is painful, but I know that when you are more painful, the light will come soon. In the big scene of water and sky, I blended into the mountains Dahe transforms Kowloon into nine pines, and grows in the mountains and rivers with natural spirituality." Huang Yuxing said that when the picture he wants is presented in front of him step by step, he will be enlightened, and he will understand what kind of picture is in the moment is what you want to present. "Opportunity is very important. It may be just a moment, and everything will be right."
In Huang Yuxing's paintings, the boundaries between abstract images and meticulous landscape layouts have blurred in the mirage of surging colors. He did not blindly stick to the rigid inheritance of the achievements of the ancients, but emphasized that contemporary paintings should have contemporary attributes, "Our advancement should not be limited to the context of Chinese painting, but we must examine the tradition of oriental painting from a global perspective. Chinese painting is the root, root, and source. The old things cannot be forgotten, but we also need to have the injection of the new era. It is not limited to accommodate the aesthetics, composition, and color of literati paintings, but it must be more inclusive, reasonable, and advanced. and evolution.” But it is also a complicated system, and with the passage of time, much of the fundamental knowledge has been lost, and what can be seen is only the text compiled into books by later generations and some rare treasures that remain. This will cause many people to absorb it blindly, but the reason may not be clear. Ancient and modern, Chinese and foreign, I think art has something in common. Chinese painting, Chinese tradition, and Chinese spirit combine and influence each other. A good work must also benefit from the understanding and practice of the Chinese spirit and Chinese cultivation.
"Mountains have four seasons of color, wind, rain, darkness, and change. They are not colored to resemble their appearance. The so-called spring mountains are bright and beautiful like smiles, summer mountains are green and like drops, autumn mountains are bright and clean like washing, winter mountains are bleak and like sleeping, these four The spirit of the times. Although ink and wash are wonderful, they only describe the spiritual essence of mountains and rivers, and it is difficult to distinguish the four seasons." Tang Dai once described the infinite changes of mountains and rivers and the plight of artists in "Painting Things". Huang Yuxing never followed the scriptures. He regarded ancient Chinese paintings as a complex system. "The passage of time has made it impossible to study a lot of fundamental knowledge. What can be seen is only the words compiled into books by later generations and some rare treasures that remain. Blindly absorbing, But the reason is not necessarily clear. Ancient and modern, Chinese and foreign, I think art has something in common. Chinese painting, Chinese tradition, and Chinese spirit combine and influence each other. A good work must also benefit from the understanding of Chinese spirit, Chinese The understanding and practice of self-cultivation." Huang Yuxing said that the agility of a good painter still has to be taken from the mountains and rivers in nature, and he regards it as a kind of practice, which is taken from the mountains and rivers and used in painting.