Shi - Zhong , HUANG
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Master Huang was born in Fuzhou City in Fijian Province, China in 1942 and started working at the Fuzhou Art and Craft Fine Arts Institute in 1957. He later transferred to the Fuzhou First Bodiless Lacquer Plant in 1963. He was admitted to the Craft and Art Department of Central Academy of Art and Design in 1976. After graduation, Master Huang returned to the Fuzhou First Bodiless Lacquer Plant and continued to study bodiless lacquer. He received the title of Master of Chinese Arts and Crafts from the China Light Industry Association in 1993. He was recognized in 2010 as the representative successor of “Fuzhou Bodiless Lacquer Paint Decoration”, which is a provincial-level form of non-material cultural heritage. He is currently a director of the Chinese Arts and Crafts Institute, the executive director of the Fujian Arts and Crafts Society, and the vice president of the Lacquer Art Committee of the China National Arts and Crafts Society.

Master Huang began following Xiu-Quan Gao, a master in lacquer painting at the Fuzhou Art and Craft Fine Arts Institute, as a protégé at age of 15. He graduated from the Central Academy of Art and Design in 1978. Currently, various pieces of his selected works have been acquired by the China Arts and Crafts Museum and put into its collections. The bodiless lacquer works he created are appreciated for their exquisite visual style and tactile feel. He pays a great amount of attention to detail in his works, giving them an air of sophistication and elegance.

Philosophies in arts
Master Huang keeps an open mind and incorporates eclectic elements in his lacquer works; no idea is too radical and all forms of creativity are embraced. His unique artistic style is apparent in both his lacquerware and lacquer paintings. He is able to blend elements in traditional Chinese painting, craftsmanship in lacquer art, and vintage furniture together to create engrossing novelties, such as the Carps in Lotus Pond, Crane in Golden Dawn Vase, and Southern Scent Four-Panel Screen, which are exquisitely refined and greatly admired by all.
The original aesthetics and practicality in daily use of lacquer arts, two seemingly incompatible elements, are reconciled perfectly via the combination of seasoned and outstanding skills and modern art concepts. The geometric concepts in modern art are interpreted with the principles of painting, and the craftsmanship. Master Huang is keen to promote Chinese culture and pursue diverse development, so that the spirit of traditional lacquer arts and modern art concepts can coexist. Each piece of lacquer art is a representation of his unique individuality and personal life experience with lacquer art.