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黄胄笔下的少数民族歌舞人物画，线条流畅，笔墨洒脱，画面清新，热列而朴实，画中人物轻舞飞扬，热情怡人，观者不但能从画面中感受到歌舞者的热情似火，也能从画面的笔墨线条中感受到画者的激情澎湃，让人百读不厌。“黄胄是新中国自己培养出来的有为的青年画家，他能画我们的人民”。作为新中国美术史上一位具有重要影响力的画家，黄胄的作品关注生活，真诚描绘人民的形象，特别是为边疆少数民族留下了壮美的生活画卷。他的少数民族人物与动物具有鲜明的艺术个性和艺术魅力。我们的文学家、画家是在我们的土地上出生成长的，几千年来有一个看得见摸得着的东西始终贯穿着我们的一切，那就是民族的精神和传统。我的艺术就是在这个信念的基础上发展的。黄胄一生自23岁至55岁的三十多年间，曾5次赴新疆写生，集累了大量的创作素材。此幅《新疆舞》作于1975年，其时50的黄胄正值艺术创作的金盛时期。

我国新疆地区地域广，有维吾尔、哈萨克等十多个少数民族聚居于此。天山之麓，草原之上，能歌善舞的民族同胞向我们展示出浓郁的异域风情。画新疆必先善画歌舞。而黄胄正是善于捕捉舞蹈瞬间优美姿态的画坛大手笔。图中以大笔疾扫出少女舞动的裙裾和衣袖，手臂和面部细致刻画，形成鲜明对比。红色的上衣和灿烂的笑容，渲染出画面热情奔放的意境。少女身姿矫健，舞步轻盈作为画面主体，敲手鼓和持冬布拉二人伴奏。人物的表情、音乐的节拍、少女的舞姿，整体呈现在观者眼前。《新疆舞》作于1975年，是典型的黄胄题材边疆系列作品。作品具有极强的视觉冲击力，观之，一股清新雄劲的大写意画风便扑面而来。黄胄的《新疆舞》，流动的势能充满整个画面。

从上至下，艺术家有心安排了一个完美的节奏：以最上方拍鼓的乐手为端，其鼓和手的动态构成一个从左上往右下的动势；至中间拨琴的乐手，手中所持沙塔尔的朝向又形成了一个由右上至左下的动势；而当中舞者的动态尤为精彩，头颈的扭动、手臂的动作，最后与裙摆的舞动一起，蜿蜒流转；身躯作为一个主轴纵向地将这些动势整合，使得画面灵动而不散乱，松弛又浑然一体。黄胄更以精准灵动的笔法刻画人物形象，使之成为画面的题眼，将这股流动之气凝结于人物的神情动态之中，呼之欲出。近观《新疆舞》,艺术家运用侧锋、逆锋、散笔、干笔、湿笔，疾速书写，几乎难辨章法。但经由这些笔墨痕迹，我们清晰感觉到笔在纸上飞快游走的率意和自由。稍退远，统观全画，便觉这些错综的线条和颜色处处坐实于对象，不差锱厘。他用这样一种极富速度感的笔墨，捕捉住快速的舞蹈动作的瞬间，将"书写"与"舞蹈"共通的时间性在平面空间内完美地呈现，令人叫绝。

Huang Zhou's minority song and dance figure paintings have smooth lines, free and easy ink, fresh pictures, hot and simple, and the characters in the paintings dance lightly and fly, warm and pleasant. The viewer can not only feel the enthusiasm of the singers and dancers in the picture, but also feel the passion of the painters in the lines of the picture, which makes people never tire of reading. "Huang Zhou is a promising young painter trained by new China. He can paint our people.". As an influential painter in the art history of new China, Huang Zhou's works pay attention to life and sincerely depict the image of the people, especially leaving a magnificent picture of life for the border ethnic minorities. His minority characters and animals have distinctive artistic personality and artistic charm. Our writers and painters were born and grew up on our land. For thousands of years, there has been something visible and touchable that has always penetrated everything we have, that is, the national spirit and tradition. My art is developed on the basis of this belief. In his life, from the age of 23 to 55, Huang Zhou went to Xinjiang for sketching five times, accumulating a large number of creative materials. This piece of Xinjiang dance was painted in 1975. At that time, Huang Zhou, 50, was in the golden age of artistic creation. Xinjiang is a vast region in China, where more than ten ethnic minorities such as Uygur and Kazak live in concentrated communities. At the foot of Tianshan Mountain and on the grassland, our ethnic compatriots who are good at singing and dancing show us a strong exotic style. Painting Xinjiang must first be good at painting, singing and dancing. And Huang Zhou is a big hand in the painting world who is good at capturing the beautiful posture of dancing moments. In the picture, the girl's dancing skirts and sleeves, arms and face are carefully depicted with a large amount of disease, forming a sharp contrast. The red coat and bright smile render the passionate and unrestrained artistic conception of the picture. The girl's posture is vigorous and her dance steps are light. As the main body of the picture, she plays the tambourine and holds the Dongbula to accompany her. The expression of the character, the beat of the music and the dancing posture of the girl are presented to the viewer as a whole. Xinjiang dance, written in 1975, is a typical frontier series with the theme of Huang Zhou. The work has a strong visual impact. Looking at it, a fresh and vigorous freehand brushwork style comes to my face. In Huang Zhou's Xinjiang dance, flowing potential energy fills the whole picture. From top to bottom, the artist deliberately arranged a perfect rhythm: take the top drum player as the end, and the dynamics of his drum and hands form a momentum from top left to bottom right; To the musician who plucked the piano in the middle, the direction of shatar in his hand formed a momentum from top right to bottom left; The dynamic of the dancers is particularly wonderful, the twisting of the head and neck, the movement of the arms, and finally, together with the dance of the skirt, meandering flow; The body, as a main axis, integrates these dynamics longitudinally, making the picture flexible but not messy, loose and integrated. Huang Zhou portrayed the characters with accurate and flexible strokes, making them the eye of the picture, condensing this flowing air into the dynamic expression of the characters, ready to come out. Looking closely at Xinjiang dance, the artist uses side front, reverse front, loose pen, dry pen, wet pen, and writes quickly, which is almost difficult to distinguish the composition. But through these traces of pen and ink, we clearly feel the speed and freedom of the pen on the paper. A little farther back, looking at the whole painting, you will feel that these intricate lines and colors sit firmly on the object everywhere, not bad for penny pinching. He used such a pen and ink with a sense of speed to capture the moment of rapid dance movements, and perfectly presented the timeliness shared by "writing" and "dance" in the plane space, which is amazing. .