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Scholar Period > Paintings

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1956

June 28 1956: EXHIBITION OF CARTOONS AND PAINTINGS

June 28 1956: EXHIBITION OF CARTOONS AND PAINTINGS

Guest of Honour: Zhou Ruiqi Minister of Education, Singapore Exhibition content: 1. Son’s Education, 2. Mister Fluke, 3. Sketch Siam, 4.Malaya Niubizi, (above are not for sale),5.China ink painting and upside down calligraphy......

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1957

1957 to 1972 Huang Yao Seals engraved by Tao Shoubo

1957 to 1972 Huang Yao Seals engraved by Tao Shoubo

In our records, Tao Shoubo (1903 - 1977) had engraved 5 seals for Huang Yao.

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1957

August 8 1957: Joint Exhibition of Ten Contemporary Chinese Artists

August 8 1957: Joint Exhibition of Ten Contemporary Chinese Artists

Exhibition dates: 8 August – 14 August 1957

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1960

1960s The Collection of Single Characters

1960s The Collection of Single Characters

Huang Yao compiled the many different ways of writing the same single Chinese character, from pictograph to oracle bone inscriptions and bronze scripts. Below every character, he noted the source in ‘caoshu’. There are a total of 74 pages.

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1960

1960s The Dictionary

1960s The Dictionary

The 'book/dictionary' has a total of 586 pages. Each page is for one character only. A few different ways of writing that character in oracle bone inscription, bronze script, ‘zhuan’, ‘li’ and ‘kai’ are included. There is also a description of the origin of the character and how it's shape, sound and meaning has changed over time. The sources for these descriptions were from classical Chinese reference materials.

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1960

1960s The Collection of Phrases

1960s The Collection of Phrases

A set of 32 pages, similar to the ‘Collection of Single Characters’ but now the characters are grouped into phrases. These phrases are of auspicious sayings, idioms, Buddhist sayings or parts of poems. Using the example of ‘wan xiang geng xin’ or ‘everything takes a new look’, is similar to examples in Item1 but with four characters forming a phrase.

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1960

1960s to early 1970s The Calligraphic Sketches of Chinese Characters

1960s to early 1970s The Calligraphic Sketches of Chinese Characters

Each sketch can be of a single character or a phrase of multiple characters. There are a total of 1,611 pages.For this example, Huang Yao chose 3goats to represent the phrase‘sanyangkaitai’; ‘sanyang’means 3 suns,but the sound yang can also mean goat, hence the choice.

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1960

1960s Huang Yao Seals engraved by Lu Dinggong

1960s Huang Yao Seals engraved by Lu Dinggong

Lu Dinggong continued teaching after he left china.......

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1970

Early 1970s The Calligraphic Sketches of Poems

Early 1970s The Calligraphic Sketches of Poems

This set consists of 24 sketches. Huang Yao had progressed from single word to phrases and now to a group of words, from Tang poems, Buddhist poems and even classical literature. The first page for each 'poem' has the characters of the poem written in a column on the left-hand side of the page.

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1970

Early 1970s The Sketches for Paintings

Early 1970s The Sketches for Paintings

Huang Yao chose to use his favorite phrases, a total of 51 sketches were produced, a single page per phrase. These phrases are of auspicious Chinese sayings, idioms, or parts of poems. For each phrase, different ways of writing each character in the phrase were listed.

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1970

1970s to early 1980s The Drawings

1970s to early 1980s The Drawings

A set of 51 drawings of single Chinese characters and phrases. These were done on thin white paper-cardboard. It appears that the ‘Drawings’ were first done with pencil, going over the same line many times and finally with a thick stroke in blue felt tip pen bringing out the final picture.

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1970

Mid 1970s Sketches of Children at Play

Mid 1970s Sketches of Children at Play

In Chinese art, there is a phrase ‘nine sketches, one completion’, implying that many sketches are undertaken. One can use a pen, coal, crayon, or pencil in a notebook or on paper (Huang, 2000 Yibi Hua).

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1970

Mid 1970s Sketches of 10 Children

Mid 1970s Sketches of 10 Children

How many of these paintings of ‘children at play’ have I done? I am not sure. I only remember that I collected a few hundred different games children play.

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1970

1970s Malay Children Scroll

1970s Malay Children Scroll

All the children in Huang Yao’s drawings are Chinese and they are dressed in ancient Chinese clothing, except for the children in the scroll of 100 Malay village children.

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1970

1970s  Happy Shouxing or Diety of Longevity

1970s Happy Shouxing or Diety of Longevity

HY applied the spirit of being a child to his paintings of Shou Xing, the Deity of longevity. An old man who shows the signs of antiquity is usually chosen to represent Shou Xing. But Huang Yao’s Shou Xing can be kind, lively or contented and childlike.

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1970

1970s Conduit for transmission of Chinese culture and tradition

1970s Conduit for transmission of Chinese culture and tradition

At the end of 1973, Huang Yao retired from being a headmaster and resumed full time paintings. In his paintings of children, he went beyond just just children at play, and using the artwork as conduit for propagating the Chinese culture and traditions.

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1970

Paintings in Foreign Environments - Nanyang Scenes

Paintings in Foreign Environments - Nanyang Scenes

I have been asked, 'Can you use calligraphy to write the Nanyang landscape?' Without thinking I replied, 'Of course, as long as you know how to use chopsticks, you can handle the brush, with brush you can write, and you can write everything in nature, not just what is in Nanyang.'

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1970

Ziyou Hua - Animals

Ziyou Hua - Animals

In the history of painting, animals are likely to be the earliest subject matter painted by men. In the stone caves of primitive men, before the invention of the words, men were already using available colored materials to paint wild bulls and wild deer.

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1970

Ziyou Hua - Birds

Ziyou Hua - Birds

In the Chinese painting of birds, it is not so much to paint its form, but more importantly the artist uses the bird to express his inner feelings or character.

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1970

Ziyou Hua - Flowers

Ziyou Hua - Flowers

For flowers under ziyou hua, apart from mastering the Chinese way of painting flowers, the artist should also consider the western approach to this subject. The classical painting's composition of flowers and tones of color, and the modern artists' bold contrasts of colors, lines and geometric shapes should be examined.

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