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1930

Huang Yao's Calligraphy

Huang Yao's Calligraphy

All of Huang Yao's calligraphic work was executed upside down; Huang Yao called this Chuyun shu. It is a technique he discovered in his attempt to imitate handwriting of children so as to capture the childlike innocence inherent in human nature, first used with his cartoon Niubizi. Later, through perseverance, diligent practice together with the mastery of writing ancient scripts, he developed a clumsy style of writing that has an ancient feel.

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1930

1930s Huang Yao Seal carved by Wang Shoupeng

1930s Huang Yao Seal carved by Wang Shoupeng

In our records, this seal was carved by Wang Shoupeng (1875-1929). Inscription was probably done by another person as Wang had already passed away in 1930s.

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1934

December 22 1934: Huang Yao Seal engraved by Mu Yilong

December 22 1934: Huang Yao Seal engraved by Mu Yilong

Mu Yilong was Huang Yao's colleague at Xinwen Bao ( The News ) in Shanghai. He was also a reknowned photographer.

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1936

Huang Yao Seal engraved by Zhang Yingchao a fellow cartoonist from Shanghai

Huang Yao Seal engraved by Zhang Yingchao a fellow cartoonist from Shanghai

Zhang Yingchao was a famous and active cartoonist in the 1930s Shanghai. He served in the committee for the First National Cartoon Exhibition in 1936.

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1942

Summer 1942 Ermei Shan

Summer 1942 Ermei Shan

Huang Yao visited Emei Shan for the third and last time. He wrote about his experience staying in a monastery up in Emei mountains and the philosophy lessons he learned by observing it's abbot...

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1942

September 1942: 100 Shou Paintings

September 1942: 100 Shou Paintings

Exhibition of ‘100 Shou Paintings’, there could have been copies as it is noted that the paintings were printed and published by Wentong Book Publishing.

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1942

September 1942: Huang Yao Seals engraved by Xie Meinu

September 1942: Huang Yao Seals engraved by Xie Meinu

Mei Nu (1911-­‐1991), famous seal engraver, engraved for both Mao Zedong and Jiang Jieshi. He was friend to Qi Baishi and Xu Beihong. In our records, Xie Meinu had engraved 2 seals for Huang Yao.

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1943

March 13 1943 Yaoshan travel sketches Exhibition

March 13 1943 Yaoshan travel sketches Exhibition

According to Feng Yan, in the “Chronicle of  art exhibitions in Guilin during the Anti-Japanese War” page 63 has this record," March 13 to 15, the China Travel Service held in Guilin's  Branch of Gliding Club.......

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1943

July 20 1943 Calligraphy Exhibition and Sales in aid of the Yeongdong famine

July 20 1943 Calligraphy Exhibition and Sales in aid of the Yeongdong famine

According to Feng Yan,  in the ”Chronicle of  art exhibitions in Guilin during the Anti-Japanese War" page 63 has this record," July 20 to 22, Fellows.......

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1943

August 15 1943: Several Solo Exhibitions in Guilin

August 15 1943: Several Solo Exhibitions in Guilin

Huang Yao held several solo exhibitions in various parts of Guilin simultaneously in order to raise funds for the prevention of disease and money for maintaining orphanages.

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1944

October 1944 Painting for Tribal Chief Hu Zhonghua

October 1944 Painting for Tribal Chief Hu Zhonghua

Painting found on the internet in 2010, owner unknown. The painting is of an arch, a symbol of peace and harmony.

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1944

October 1944: Huang Yao Seal engraved by Indigenous Native Chief in Yunnan

October 1944: Huang Yao Seal engraved by Indigenous Native Chief in Yunnan

In 1944 Huang Yao had given a painting to a tribal chief in Kunming, the seal could be an exchange.

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1947

1947 The Contradiction Set

1947 The Contradiction Set

The 'Contradiction', the last known set of cartoons Huang Yao painted before leaving China. It depicted the contrasting situations between the old and the young, modern and traditional; the injustice committed by the government and military towards the civilians, the rich and the poor, the politicians, business men, scientist's view of the world and so on...

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1947

1947 Scenes of Vietnam

1947 Scenes of Vietnam

Huang Yao wrote, “The paintings I did of ladies under the human figure category were rather popular, I think because the painting is rather 'pretty'. It’s a pity that in Chinese paintings, when they paint the subject of ladies, they are often depicted as rather old fashion. Alternatively, in the western paintings, ladies are painted nude, which is kind of inappropriate for Asians to hang in their living room. But old fashion paintings are not 'exciting' enough!”

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1947

March 8 1947: Huang Yao Cartoons Exhibition

March 8 1947: Huang Yao Cartoons Exhibition

Huang Yao Cartoons Public Exhibition Opens Today, 10am to 5 pm The cartoons of Mr. Huang Yaoding, the creator of Niubizi, have long enjoyed international renown and have been published in over ten Chinese-English bilingually captioned volumes of cartoons.

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1947

March 10 1947 Yunnan Daily : Huang Yao Cartoon Exhibition Closes Today

March 10 1947 Yunnan Daily : Huang Yao Cartoon Exhibition Closes Today

Huang Yao Cartoon Exhibition Closes Today.

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1947

1947-1951 Words of a Child

1947-1951 Words of a Child

Children appeared as supporting characters in Huang Yao’s cartoons during the period of 1934 to 1947 in Shanghai and the interior of China.

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1950

Paintings in Foreign Environments - Human Figures in Thailand

Paintings in Foreign Environments - Human Figures in Thailand

Most people think that it is difficult to use Chinese ink and brush to paint what you see. This is basically a matter of skillful application of ink and water with the Chinese brush.

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1950

Paintings in Foreign Environments - The Old Bangkok City Wall

Paintings in Foreign Environments - The Old Bangkok City Wall

While I was in Bangkok in the early 1950's, there was a remaining stretch of an old city wall in that city (I wonder whether it is still there?). I had used the Chinese brush and ink painting technique to paint it as it was then.

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1950

Human Figure Paintings - Bai Miao

Human Figure Paintings - Bai Miao

Bai Miao is a technique of using Chinese brush to draw a fine outline of an object. As these lines are drawn with the supple Chinese brush using calligraphy strokes, the lines have a soft feel as well as a rhythmic vigor that is not attainable by the use of pencil, charcoal or other hard instruments.

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