Representing everyday life
After completing his studies, Huang remained in Tokyo and worked as a graphic designer for a magazine. He was subsequently enlisted by the Japanese government to serve as a translator in China. Living abroad in that turbulent age helped sharpen Huang’s eyes and broaden his horizons.
Lin Po-ting draws our attention to Huang’s Fragrance of the South, which was selected for the Taiwan Provincial Art Exhibition in 1948. Huang’s subject matter here—areca (betel nut) palms—is familiar enough; what makes the painting special is that it gives prominence to the often-neglected areca flowers. It conjures the fragrance that is said to permeate the mountains when areca palms bloom. Zooming in on the high crowns of the palms, Huang allows the tiny flowers, which are usually out of reach, to occupy the foreground. The palm fronds and fence that adorn the background serve to bring into focus the white blossoms, as if these were myriad bright stars. The painter thus “creates an aromatic atmosphere, a poetic scene,” Lin says.
Professor Huang Tung-fu of the Department of Visual Arts at National Pingtung University published a new biography of Huang Ou-po in 2023. He says that Huang’s works demonstrate a spirit of tolerance by blending together nihonga, Chinese ink-wash painting, and Western art, assimilating these various traditions into his own artistic vision. “His feelings were inspired directly by nature, and it was from there that he distilled his techniques.” Huang’s style of ink wash may not be as flamboyant as that of other celebrated painters, but his honest approach to nature makes his paintings eminently accessible.
Huang’s Family Celebration, which won the Education Association Prize at the Taiwan Provincial Art Exhibition in 1953, portrays red tortoise cakes (ang ku kueh). With a red skin made from glutinous rice flour and a sweet filling, these oval-shaped delicacies are common ritual offerings in Taiwan during traditional festivities. In the painting, an elderly woman seated on a bamboo stool is cutting a banana leaf on which rests a red tortoise cake. On the bamboo tray in front of her are undyed glutinous rice dough, red food coloring, and a cake mold. Next to her are a wooden pail containing adzuki bean paste, and a tub across which lies an uncut banana leaf. In an economical manner, the painting encapsulates the entire process of making red tortoise cakes and exudes a distinctively Taiwanese charm.
Huang’s son Chen-chih, curator of Chan Liu Art Museum, further illuminates the details in his father’s painting. The woman depicted here, he tells us, is actually his maternal grandmother, who lived in an age when the practice of footbinding was prevalent. The painting faithfully represents her deformed little feet, as well as the embroidered slippers next to her, the patterns and wrinkles on her clothes, and her hair bun ornament. Rendered with loving attention, these meticulously captured details express the spirit of the age.
Lin Yushan (upper photo, right) and Huang Ou-po (upper photo, left) were distant relatives and friends for life. Lin’s son Po-ting (lower photo, right) and Huang’s son Chen-chih (lower photo, left) are also good friends. (upper photo courtesy of Lai Tian-yun; lower photo by Kent Chuang)
As well as being a painter, Huang Ou-po was a poet and playwright. He wrote a comedy in Taiwanese. (photo by Kent Chuang)