The works presented in this exhibition fall into two categories, one exquisite and delicate, the other succinct. These two categories form what is called “Drawing Spirit”. Those exquisite and delicate works attach more importance to the spirit rather than to the form, which can achieve the same effect as the second category. “Drawing Spirit” reflects the logical core of the Chinese culture and continues on as a unique aesthetic characteristic of classical Chinese paintings. The “Drawing Spirit” is reflected throughout all the painting processes such as designing, operating, use of ink, and finally appreciation.

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The original meaning of “Drawing” is transmission, through which artists can convey their conception to those who appreciate the artists’ work. During the whole process of transmission not only does the artist convey his original artistic conception, connotation and interest, but also leaves room for the viewer to create their own unique artistic conception, connotation and interest under the artist’s influence. As expressed by the Qing Dynasty artist, Yun Nantian: “Brush and ink are lifeless, but those who use them must have feelings. Painting is to convey affection, therefore artists may not leave people untouched when appreciating paintings.” As is known to all,” Poetry and painting leave the “readers” much more imaginative space.” Poetry and painting have the same characteristics in the sense that although they use succinct language, they express infinite meaning. As an ancient Chinese poem said, “One’s eyes may see thousands of flowers, but no more than two or three.”   

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Thus, as to appreciation, different people have different opinions. These works are aimed at getting your opinion and urging myself to improve and achieve more.