Huang Tu-shui (1895-1931) was the first modern Taiwanese sculptor to study Western sculpture in Japan. After being selected for exhibition in the second annual Empire Exhibition in 1920, Huang’s work was subsequently exhibited in three consecutive Empire Exhibitions, but a boycott by members of the jury in 1925 forced Huang out, and he abandoned all future efforts to enter the exhibition. The sculpture world in Japan was still spellbound by Rodin and realism in 1915 when Huang was recommended for entry to the Tokyo School of Fine Arts, where he studied wood carving at the sculpture department. Influenced by the prevailing trends, Huang combined traditional woodcarving techniques with the classical realism of Western sculpture to create images that are uniquely Taiwanese in expression.

Though the works do not have strong textures or dynamic movement, they express a physical flow. One of the pair of right-facing cattle grazes with its head bowed while the other gazes away in the distance. A second other pair of cattle has their heads raised, as though seeing the others graze has evoked a longing in them to graze, too. A lone cattle looks off into the distance, and brings the viewers perspective into the distance. Between the two groups of cattle is a small calf with its face to the right, being stroked by a small boy – diffusing the strong symmetry while bringing a rich emotional sense to the scene. The depth of perspective and strong focal point is unique in this work that uses Western realism to depict a sentimental view of the countryside. It is a composition of a leisurely Taiwanese landscape.

In his youth, Huang Tu-shui often visited the religious idol shops around Dadaocheng with his uncle, where he was exposed to Fuzhou style buddist carvings. Both his father and elder brother were both carpenters, and Huang was interested in woodcarving from an early age. In 1911, Huang graduated from the Dadaocheng public school and successfully passed exams to enter the teacher’s training school. This represented a significant educational opportunity for the impoverished Huang, as tuition was completely subsidized by public funds. While at school, Huang received top marks in the subjects of “drawing” and “crafts.” He received accolades for his graduation woodcarving work, which prompted Huang to pursue further study in sculptural carving. In 1915, Huang was recommended by high ranking officials in the Taiwan Provincial Government for entry into the sculpture department at the Tokyo School of Fine Arts to study woodcarving. There he received an education in Western woodcarving styles. Though woodcarving was his main focus, he was also devoted to the study of other forms of sculpture, gleaning from the strengths that he applied to developing his own stylistic vocabulary.