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tendency, viewing himself as "writing the sorrow of the country and the suffering of the people". The curator Chen Ji argues that, through his explorations of sorrow and human suffering, Huang was able to "surpass traditional
Chinese figure painting not only in form, but also in spirit, speaking directly to the ontology of modern art and completing the transformation of his figure painting into modern meaning".
414:. He established the Folk Painting Gallery at his home on Tongning Road, where he continued to educate young painters; ultimately, the students held six joint exhibitions. He also wrote about art, producing several texts – including a compilation of poetry from his works. Outside the gallery, Huang taught at the Nanhai Normal School until 1936, when he was hired by
479:. At his Zhilu Painting School in Donghuali, as in his earlier educational roles, Huang urged his students to paint based on their observations in the field, rather than isolated in the studio. Pan recalled that, during this period, Huang would follow his subjects on the streets, sketching them; this resulted in many subjects being depicted from behind.
551:. They use less colour, with rougher line-work that nonetheless reflects the approaches to modelling used in Western art. Often Huang's works are accompanied by poetry, some quite lengthy. Zhong Lin describes him as having "brought the fundamental and representative line of traditional Chinese painting to its fullest potential".
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Death and suffering are common themes in Huang's works, which Wei
Chenghong of the Lingnan School of Painting Memorial Hall links with the successive deaths of several family members and the "inescapable nightmare" and "irresistible magic" of Huang's resulting fear of death. Huang was aware of this
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Numerous retrospectives on Huang and his work have been held, including an exhibition of more than one hundred paintings, as well as related poetry, photographs, and other media, at the
Guangdong Museum of Art in 1999. The Huang Shaoqiang Memorial Hall, located in Nanhai, contains numerous works by
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Writing for the Foshan Museum, Li
Xiaoqing notes that Huang participated in some eighty-five exhibitions in his lifetime, with international showings in Belgium, France, Germany, Russia, and the United Kingdom. He also taught numerous artists, both at schools and in private. These included the
482:
Huang refused, however, to acquiesce to the
Japanese, and was unwilling to join the Japan-established South China Arts Association; when asked to do so by fellow Lingnan painter He Qiyuan, he sent a written response rather than deliver his answer in person. He was detained in 1942, and though
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Huang married Chen
Huanqing in 1918; she was also a painter, and taught at the Foshan Ladies Painting Association. The couple had four sons and several daughters. Huang's family have donated more than four hundred of his works to various museums, hoping to ensure their safekeeping and spread
344:. In 1934, he and several other artists organized another exhibition, with proceeds donated to support the fight against the Japanese. Outside of exhibitions, he organized students to spread anti-Japanese propaganda. He also produced several works that denounced the invasion, including
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approach to highlighting their suffering while condemning the excesses of luxury. Liu Haisu uses these works to highlight art's transformation from a media of the wealthy to something belonging to the masses. Some of Huang's works, however, had religious themes, and several depict
507:, Huang Zhijian, and Tan Yong. Pan He identified Huang as his greatest artistic influence, holding that his mentor's approach to art – viewing it not as a means of earning money, but as a means of serving the people – had influenced his own paradigm.
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released, he became sickly. With little money available, he lived for a time with his mother-in-law, before departing for
Xiaojiang Village in May. Huang was robbed on the road, further affecting his health. Ultimately, he died in his ancestral home on 7 September 1942.
468:) – depicting the suffering that accompanied the occupation. With fellow artists Ye Shaobing and He Jiafang, he established the Sui Han Society. Working with other artists, he also established an art school in the city, serving as its director.
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Having completed his studies at the Bowen School in 1924, Huang entered the field of education. In 1925, he began to teach painting for the Foshan Jingwu
Association; he also taught the subject at several local schools. With fellow Lingnan School painter
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Huang's art deals primarily with
Chinese subjects, often everyday situations and people. Attested in his works are beggars, craftsmen, peasants, peddlers, street performers, and tea house servants. Consequently, Ye Shuming of the
253:. Huang thus learned to combine western approaches to modelling with traditional ink- and brushwork, though unlike his teachers Huang often depicted human figures. At some point, Huang spent time learning from
218:, and was exposed to famed works of art – including works from Europe. Although his grandfather wanted him to go into administration, Huang preferred art. In 1911, as he was processing the
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Huang developed a reputation as a maverick, one isolated from the world. Nonetheless, he frequently associated with other artists, including fellow
Lingnan School painters He Qiyuan,
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Several members of Huang's family died in the 1920s, including his grandfather, father, mother, and multiple siblings. He continued to paint, holding his first solo exhibition in
1094:[Huang Shaoqiang's Belief that "Personality Naturally Leads to Style" has Greatly Influenced Me] (in Chinese). Guangdong Museum of Art. 27 August 2017. Archived from
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Shaoqiang in adulthood – enrolled at the Bowen Art School, seeking to learn painting from the United States-trained artist Liu Bowen. He also studied under
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278:, he also established an art garden to teach painting to youths. He was hired by the Foshan Academy of Fine Arts, which had been established by Gao Jianfu, in 1926.
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in his early years. These paintings were characterized by broad swathes of colour, as well as a sense of three-dimensionality. Later works abandon the influence of
214:, in 1901. The grandson of Huang Jie, a village official, Huang received an education from a young age. He read poetry and other works of literature, practised
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340:) to the National Disaster Painting Exhibition (1932) in Guangzhou. He took first place in the exhibition, sold the work, and donated the proceeds to support
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In Hong Kong, Huang organized more art exhibitions to raise money for the campaign against the Japanese, and produced multiple works – such as
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146:. The grandson of a village official, he learned poetry, calligraphy, and art from a young age. He studied at the Bowen Art School and was a pupil of
1140:[Taking a Different Path and Being Unique: Huang Shaoqiang, Famous Painter of the Lingnan School] (in Chinese). Foshan Museum. Archived from
162:. After graduating, he became an educator while developing his own career as an artist, holding his first solo exhibition in 1926. Following the
1174:[Online Appreciation Issue 42 - Huang Shaoqiang's Broken Pagoda in Autumn] (in Chinese). Nanhai Museum. 26 November 2020. Archived from
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475:, Huang returned to Guangzhou briefly before travelling to Foshan. There, he continued to paint, while also mentoring young artists such as
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391:, where he observed the experiences of the common people. As he travelled, he also interacted with his peers. During his sojourn, he met
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1074:[Huang Shaoqiang: Towards the People Special Exhibition] (in Chinese). Guangdong Museum of Art. 6 March 2008. Archived from
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539:), sought to use traditional Chinese approaches to painting to capture modern situations. His early works show the influences of
317:), were exhibited at the First National Art Exhibition in 1929; these were the only recent works exhibited therein. His painting
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325:) was sent for display in Berlin as part of an exhibition of Chinese art in 1933, then brought to London for further showings.
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in 1926. Over subsequent years, he participated in numerous solo and joint exhibitions. For example, two paintings by Huang,
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Differing from his teachers, Huang favoured depictions of the human figure. His early works showed the influence of
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1049:[Huang Shaoqiang (1901-1942) Wrote About the Sorrow of the Country and the Suffering of the People].
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1220:[Huang Shaoqiang's Life: The Story of a Bald Pipe Describes the Suffering of the World].
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describes Huang's paintings as imbued with a humanitarian spirit, taking a
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1115:[Pan He: The Father of the Fisherwoman and His Love for Zhuhai].
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1224:(in Chinese). China South Publishing & MediaGroup. Archived from
1119:(in Chinese). China South Publishing & MediaGroup. Archived from
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1195:[Huang Shaoqiang: A Lingnan Painter for the Common People].
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142:, 1901 – 7 September 1942) was a Chinese artist of the
777:黄少强的人物画不惟在形式上，而且在精神上超越了传统的中国人物画，直指现代艺术的本体，并完成了他的人物画向现代意义上的转变
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of painting, which blended Western styles with traditional
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by 1935. As Japanese forces moved southward, he fled to
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briefly before ultimately returning to his hometown in
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Huang organized fundraising exhibitions following the
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998:Guangdong Museum of Art, Huang Shaoqiang's Belief
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1053:(in Chinese). 23 March 2009. Archived from
853:Nanhai Museum, Online Appreciation Issue 42
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523:Sorrow was a common theme in Huang's work (
462:A National Disaster Too Terrible for Words
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1029:. Guangdong Museum of Art. Archived from
496:sculptor Pan He, as well as the painters
233:In 1920, Huang – who took the
182:. Sickly, he died at his ancestral home.
1111:Jiang Xinchen (蒋欣陈) (26 November 2020).
1010:Guangdong Museum of Art, Huang Shaoqiang
230:describes as Huang's first mature work.
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427:Guangzhou Municipal School of Fine Arts
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354:National Soul Rising at the Yalu River
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947:Guangdong Museum of Art, Early April
1191:Ye Shuming (叶曙明) (16 August 2021).
104:Xiaojiang Village, Guangdong, China
1216:Zhong Lin (钟琳) (14 January 2015).
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360:). At one point, he travelled to
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18:For the 9th-century warlord, see
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935:Southern Metropolis Daily, 2009
511:Huang, donated by his family.
330:Japanese invasion of Manchuria
287:Japanese invasion of Manchuria
226:(无告人), which Zhong Lin of the
164:Japanese invasion of Manchuria
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66:Self-Portrait on 39th Birthday
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1267:20th-century Chinese painters
259:Shanghai Academy of Fine Arts
1199:(in Chinese). Archived from
1047:"黄少强(1901-1942) 谱家国哀愁 写民间疾苦"
202:Huang was born Huang Yishi (
1277:People from Nanhai District
734:将传统中国画中最根本、最具代表性的线条的作用发挥到极致
571:(persons who have achieved
410:In 1935, Huang returned to
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1136:Li Xiaoqing (李小青) (n.d.).
492:knowledge of his oeuvre.
311:Self-Admiration in Despair
241:before apprenticing under
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1092:"黄少强认为"有人格自然有风格" 对我的影响很大"
1051:Southern Metropolis Daily
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1138:"另辟蹊径 独树一帜——记岭南派著名画家黄少强"
607:Immortality and Oblivion
332:, Huang contributed his
154:, who taught a blend of
1272:Lingnan school painters
1067:(via Guangzhou Library)
622:Broken Pagoda in Autumn
440:in 1938, Huang fled to
1262:Artists from Guangdong
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346:Daughter of Resistance
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448:Later years and death
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1218:"黄少强 一枝秃管衡身世描写人间疾苦声"
1172:"在线品鉴第四十二期—黄少强断塔秋零图"
1162:: CS1 maint: year (
473:fell to the Japanese
303:Dust on an Empty Bed
1228:on 6 September 2024
1178:on 5 September 2024
1144:on 6 September 2024
1123:on 1 September 2024
1098:on 6 September 2024
1078:on 6 September 2024
697:Correction of Youth
549:wood-block printing
334:Floods and Refugees
328:Following the 1931
263:Shanghai University
84:Xiaojiang Village,
682:Guanyin with Child
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527:, undated, detail)
515:Style and analysis
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1057:on 5 January 2024
720:Explanatory notes
541:Japanese painting
487:Family and legacy
438:fall of Guangzhou
220:Xinhai Revolution
187:Japanese painting
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454:No Looking Back
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1113:"潘鹤：渔女之父的珠海情缘"
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1232:6 September
1222:Southcn.com
1207:5 September
1182:5 September
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1117:Southcn.com
1102:6 September
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1019:Works cited
775:Original: "
762:Original: "
745:Original: "
732:Original: "
579:Bodhisattva
501: [
436:. With the
430: [
419: [
251:Chinese art
216:calligraphy
78:Huang Yishi
31:family name
1246:Categories
986:Jiang 2020
896:Zhong 2015
787:References
560:Yang Cheng
405:Xu Beihong
319:Sad String
243:Gao Jianfu
239:Gao Qifeng
198:Early life
152:Gao Jianfu
148:Gao Qifeng
609:(undated)
577:) or the
442:Hong Kong
412:Guangzhou
393:Qi Baishi
255:Liu Haisu
212:Guangdong
193:Biography
180:Guangdong
176:Hong Kong
172:Guangzhou
86:Guangdong
1158:cite web
637:Farewell
533:art name
416:Li Jinfa
385:Shandong
381:Zhejiang
110:Movement
25:In this
828:Ye 2021
749:" and "
747:无法摆脱的梦魇
712:Peasant
593:Gallery
583:Guanyin
574:nirvana
535:Zhilu (
466:罄竹难书国难惨
377:Jiangsu
373:Guangxi
358:鸭绿江头起国魂
293:, 1938)
257:at the
156:Western
126:Chinese
88:, China
974:Li n.d
751:可抗拒的魔力
714:(1941)
699:(1940)
684:(1935)
669:(1932)
667:Martyr
654:(1931)
639:(1930)
624:(1926)
569:arhats
557:e-zine
477:Pan He
460:) and
403:, and
389:Shanxi
387:, and
352:) and
338:洪水图流民图
309:) and
299:Foshan
291:Hunger
208:Nanhai
136::
134:pinyin
128::
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362:Hunan
36:Huang
1234:2024
1209:2024
1184:2024
1164:link
1150:2024
1129:2024
1104:2024
1084:2024
1063:2024
1039:2024
525:Lady
458:不堪回首
350:抵抗之女
315:穷途自赏
307:尘榻空留
158:and
150:and
94:Died
81:1901
74:Born
265:).
204:黃宜仕
130:黃少強
53:黃少強
33:is
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