From the perspective of Chinese painting, Huang Binhong’s works can be seen to resonate with Western Impressionist paintings. However, modern painters such as Wu Guanzhong have been quite critical of Huang Binhong’s paintings, commenting that his works are all repetitive and devoid of meaning. Wu Guanzhong values composition and modern expression, believing that brushwork and ink should progress with the times. Huang Binhong, though deeply grounded in the classical traditions of brush and ink, is considered outdated in the eyes of contemporary painters. In both Eastern and Western art, reaching the highest standard is not only about technical skill, but more importantly about the ability to elevate the artist’s spirituality. It’s like musical instruments: China’s achievements in music are relatively limited, yet when comparing the guqin with the Western harp or organ, one can feel that both are capable of achieving a high level of spiritual cultivation.
As mentioned in the previous episode, Fu Lei, a collector, commented that among modern calligraphers and painters, only Huang Binhong and Qi Baishi can truly be considered qualified. Although the two had different painting styles and backgrounds, their peak works were completely free of vulgarity. Chinese philosophy values yin and yang, the balance between black and white. The same balance is essential in calligraphy and painting—the ability to achieve it reflects a high degree of skill and a deep commitment to philosophical cultivation.