In the previous episode, we mentioned that Huang Binhong is regarded as the Van Gogh of China, with Van Gogh being a representative of Impressionism. This is because Huang frequently uses thick lines in his work. Western Impressionists also tended to use bold brush strokes, resulting in fewer fine lines. Impressionist paintings appeared before Huang Binhong’s works. Many new Western paintings at that time were titled with the word “impression,” while many traditional artists sarcastically pointed out that these were unfinished works, comparing them to wallpaper in its embryonic stage, which had higher completion quality.
Early still life paintings by Picasso exhibit considerable skill, showcasing his solid classical painting techniques through their lines. Huang Binhong’s early works also reflect the classical Chinese landscape style, gradually evolving into an Impressionist style over time. Later, as his vision deteriorated, his painting style became more abstract and modern, gradually moving towards a spiritual realm. Much like Beethoven’s later classical symphonies, which were completed when he was almost completely deaf, all art is an expression of spirituality. It does not rely solely on sensory perception; rather, it is through the soul’s perception that one can reach the heights of artistic philosophy.
Among Chinese painters, only Huang Binhong and Zao Wou-Ki have achieved the highest expression of Western painting techniques. However, Zao Wou-Ki excels in Western painting, incorporating Chinese landscape elements into his works. In contrast, Huang Binhong completely focuses on Chinese landscape painting, yet his methods resonate with the cutting-edge art of Western modernism.