Huang's talent is transcendent, and he has no ambition. He took the prodigy exam in the county when he was 12 ~ 13 years old. Later, he read extensively and worked tirelessly, and mastered a wide range of knowledge and skills. He also worked as a librarian in the low-cost embassy in western Zhejiang, and was put in prison after a lawsuit. After he was released from prison, Huang was disheartened and changed his name to "Da Zhi". From then on, he stopped asking about politics, started a hermit life and joined the new Taoism.
Huang started late and began to paint landscapes after he was released from prison at the age of 50. Because of the ups and downs of life and self-knowledge, the landscapes he painted should be observed in person. His brushwork was a beginner of Dong Yuan and Ju Ran in the Five Dynasties and the Early Song Dynasty, and influenced by Zhao Mengfu, he made good use of wet pen to transport the pen. He has studied Dong Yuan's paintings, so far he can see many paintings, among which "Ya Dan Yushu Map" is one. The Stone Wall Map of Tianchi is also one of his representative works, which can represent the complex composition of his landscape paintings. I saw the mountains in the painting, the huge stones piled up, the long pines and miscellaneous trees, the smoke clouds circulating, the rocks extinguished, the momentum magnificent and boundless. The composition is complex, but the strokes of the objects are simple. The long and complete lines are natural and smooth, and the ups and downs are orderly. They are mixed with ochre and dark green and dark green, and the colors are elegant. The so-called "pale crimson" method was actually initiated by Huang.
Huang joined Neo-Taoism, and this religious practice also had a great influence on him. Meditation, lowering the heart, refining the nature, making people quiet and focused. The most important spiritual practice of ancient literati painters was that poetry was solitary and painting was quiet, which affected the painting style. Any painter with a peaceful mind will generally not have the agitation of Yuan and Xia Gui chopping axes. Away from the world, painting will not be vulgar.
Later, Huang's paintings merged with the feeling of natural scenery and became a family of his own. It is characterized in that it is made of light crimson hilltop ettringite with gorgeous brushwork; The ink pattern is rare, and the pen is concise and far-reaching. Critics believe that "the peaks are thick and the vegetation is abundant." This kind of painting pays attention to imitating nature. Huang often carries a pen and paper to describe the natural scenery of Yushan, Jiu Feng and Fuchun River. Calligraphy strokes have two sides: ink and wash, light crimson, simple and elegant brushwork, rich and broad style and great momentum.
Huang's greatest achievement was his long scroll Fuchun when he was in his seventies. This painting depicts the early autumn scenery around Fuchun River in ink and wash. At the time of conception, he traveled all over Fuchun River, which took 6-7 years to complete. The picture shows a long scroll with a length of 636.9 cm and a width of 33 cm. In the painting, the peaks and peaks are undulating, the forest is winding, the Pingshan is continuous, the river is like a mirror, the realm is open and distant, magnificent and vast, concise and moist. Where there are dozens of peaks, a peak is like a shape; Hundreds of trees, one tree in a state; There are endless changes. Its mountains are thick or light, all with dry and withered pens, simple and elegant, refreshing and chic, and the mountains and continents in the distance are painted in light ink, with faint traces of pens. The waterline is marked with coarse dry ink, and occasionally with light ink. Trunk or two strokes, or boneless writing; Leaves or horizontal points, or vertical points, or oblique points; Check pine needles or dry ink, wet ink or dry pen. Mountain and water are written with dry pen, without a lot of pen and ink, but the leaves have thick ink and wet ink, which makes the mountain look pale and the tree look strong. The trees in the distance are decorated with thick ink and then with light ink, all of which are casual and soft. The paper is ethereal and elegant, with heavy bearing, and later people call it "Lanting in painting".
Huang, Zhenwu, Ni Zan and Wang Meng were collectively called "Four Masters of Yuan Dynasty" by later generations, among which "Huang is the crown" had a great influence on landscape painting in Ming and Qing Dynasties. Huang also left behind some works, such as "Writing Scenery Tactics" and "On Painting Scenery", which are models for future generations to learn painting.