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Scholar Period

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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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1970

Ziyou Hua - Human Figure

Ziyou Hua - Human Figure

The great poet of Tang dynasty, Du Pu, described in his poem the spirit and inspiration of his work. It is similar to the story about Zhang Xu who used his hair (men had long hair then) as a brush. He could write rapidly (because of long disciplined practice) that his writing appeared like cloud and smoke on the paper.

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1970

Ziyou Hua - Human and Animals

Ziyou Hua - Human and Animals

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1970

About Ziyou Hua

About Ziyou Hua

Ziyou means to be free, and ziyou hua are paintings that were done spontaneously with or without a subject in mind. These paintings were painted after Huang Yao's Wenzi hua.

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1972

1972 to 1973 The Diary

1972 to 1973 The Diary

Similar to The Collection of Phrases, The Diary consists of many more different pictographs that has been diligently collected for each Chinese character. This time, only a brief explanation of the character was recorded in The Diary.

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1974

1974 to 1981 Coloured Calligraphic Wenzihua

1974 to 1981 Coloured Calligraphic Wenzihua

Here, Huang Yao not only did not confine himself to using black ink exclusively for the writing of the characters, he wrote them freely and spontaneously often in great speed so much so that the characters are no long in the typical vertical position nor are they about the same size.

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1974

1974 to 1977 Figured Wenzihua

1974 to 1977 Figured Wenzihua

This category is so named because the side view of an abstracted human figure or pictograph of animal or bird was used here to convey the feeling or meaning of the title or content of the painting.

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1974

1974 to 1980 Ideographic Wenzihua

1974 to 1980 Ideographic Wenzihua

In this category, Huang Yao chose the appropriate pictographs or pictures to clearly express the meaning or the concept in the title of the painting.

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1974

1974 to 1980 Imaged Wenzihua

1974 to 1980 Imaged Wenzihua

This last category has paintings that cannot be included in the earlier categories. It is apparent that the creation of the images in these paintings required not just a good grasp of the palaeography of the Chinese characters but the painter must also be a scholar of Chinese classic and a person with a deep understanding of the Chinese culture

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1974

1974 Adam And Eve

1974 Adam And Eve

In 1974, Huang Yao created his last cartoon series. This final set was called Eve and Adam and differed in style from his previous works. The painterly drawings depicted a naked Adam and Eve as early humans.

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