In 2004, through the introduction of Pai Hsien-Yung. I met several friends from the Taiwanese cultural circle in the spacious living room of Mr. and Mrs. Yu Tian-Cong. One of them was the painter Huang-Chang Of stout build, with bushy eyebrows and large eyes, he had a smile lurking at the corners of his mouth. Seeing his lively looks, I said. ‘’You look like a high school student.’’
To my surprise, he was so excited that he jumped up and said, ‘’Then I’m a high school student’’
  I asked him. ‘’What do you paint usually?’’
  Painting at an oil painting hanging on the wall, Huang said, ‘’This is a painting by Mrs. Yu. She is my student.’’ It was a flower painting, covered with dazzling green and pale white.
  From then on, we became sister and brother: he’s my Taiwanese brother, and I’m his mainland elder sister. When it was time to say goodbye, I got into the car. He stood by Pai Hsien-Yung’s side and called me ‘’sis’’ through the glass of the car window. He said it so naturally.
  During the past few years, whenever the weather was very hot or very cold, he would call and ask: ‘’ Is it hot over there?’’ or ‘’ Is it cold over there?’’ Having learned that I like old songs he would send me some CDs of old music. Maybe he knows that I’m lonely. So he usually calls in the evening for a short chat, which warms my heart. I say to myself: relatives nowadays don’t’ get much better than that.
  When Huang went on sketching trips, he would sometimes send me photos of himself with trees, villagers and the blue sky. He’s casual and wild like a high schooler. He keeps telling me: ‘’Sis, when you travel, don’t stay in a hotel. You must stay in the countryside!’’
  I would answer, ‘’I’m not a painter’’.
  He would say, ‘’Writers are no different. You can’t see anything if you stay in a hotel.’’
  Om March 23, 2010, Shi song held a solo exhibition at the University Museum and Art Gallery of the University of Hong Kong. I bought a plane ticket and went there to see it. On the opening night, we had dinner in an old Chiuchow restaurant. During dinner, Shi Song started singing ‘’ If I don’t have you’’:
  If I don’t have you, what am I gonna do?
  My heart will be broken, and I can’t do any work too.
  If I don’t have you, what am I gonna do?

 Since my heart is broken, I don’t care what I become…
  One person sang and the others hummed along. This may be very well for young people. But we were all in our fifties and sixties. We sang it over and over again and were touched over and over again, because we felt young all at once. It made me think of the good old days I spent with Kang Tong-Bi and her daughter, and with Zhang Bo-Qu and his wife several decades ago.
  Later, Huang told me: ‘’I want to hold a solo exhibition too, in Taipei.’’
  In early 2012, I received a copy of the catalogue ‘’A Field in the Heart-Works from the solo Exhibition by Huang Ming-Chang’’. I looked at his works such as Banana Leaves Against the Wind, Ocean in Summer, Resting in the Lotus Pond, Golden, Warm Sunrise, Green Lake on a Spring Morning and Sunrise. Fisherman’s Song for a long time, and thought about the big contrast between Huang Ming-Chang the person and his paintings. One is active, and the other is passive, In contemporary Chinese painting. Various modern techniques come to the fore like surging waves, and everyone is keen on  innovating, However, there is almost no trace of ‘’modernity’’ in his <Paddyfield> Series, <Gazing at the Sea> series, <Paddy and Lotus> series and <Heart Lake> series. Rather, they seem to go backward. While the figures revert to an agricultural society, the paintings go back to the old tradition. On an age when people hardly have time to look up from their busy lives, Huang Ming- Chang’s ‘’retrogressive approach’’ s undoubtedly meant to ask us to atop for a while to look at things far away and imagine the primitive state of human life and fill the cosmic rhythm. His painting style can be described as aesthetic and romantic realism. The realism is astonishing. Using a single rice straw in different seasons as the standard unit, he manages to show the variation of light and shadow between the straws in different lights, He himself seems no longer a painter either, but has become a hard- working farmer engaged in intensive cultivation, tending that paddyfield, that banana tree and that wave. It is amazing that someone who studied in France for so long paints nothing but his native countryside.
 I was told that his paintings sell extremely well and his prices continue to soar. If you come to think of it, it is not so surprising. Nowadays, urbanization has produced concrete buildings, road construction has replaced the soil with asphalt, while the roads have been taken away from pedestrians and given to cars and exhaust fumes. Once the material life has become our lifestyle, man is no longer the master, but the servant, and forgets what it means to be human. At such a time, we ate bound to be touched by Huang Ming-Chang’s paintings-since we can discover life as it once was and the instincts of life in his rice grass. Flower petals, leaves and curtains. No matter how expensive they are, you want to buy them and hang them in your living room and your study. You can listen to the sound of that wind and rain and the song of the birds and the insects by yourself; you can look at the clear or cloudy sky and the shapes of the mountains and seas by yourself. How exquisite and pure it is! The scenes in the paintings dispel the sights of prosperity and gloominess before us, powerfully changing our feelings about our surroundings and making it possible to renew our spirit.
  ‘’Dark waters with a bridge above. Low houses with lemongrass. Even the yellow flowers are blooming.’’ In my view, Huang Ming-Chang’s painting style is somewhat reminiscent of the ancient styles of the Ming and Qing Dynasty. It is a cross between worldliness and elegance. And peacefulness blended with liveliness. Everything has been repeatedly refined by the painter. Over the past few decades, the representation of the objective world in Chinese painting has been highly flawed. Leaving the distortion of history and the sugaring up of reality aside, even those that represent daily life show a lack of deep compassion and feeling. There are also no landscape paintings in the original sense. Huang Ming-Chang’s paintings are his very own. They are the expression of his inner spirit.
  We often talk about the ‘’happiness index’’ here. If you ask me: ‘’Are you happy?’’, I would answer: looking at Huang Ming-Chang and his paintings. I feel happy.