From the Tang Dynasty artist Zhang Zao, the aesthetics of Chinese ink painting has been centred on the principle of “in pursuing artistic creation, one needs to draw inspiration from all things in nature and his innermost thoughts.” Extracting the essence of nature to express emotion and thought, the artist, achieving both verisimilitude and ephemeralness, conveys subtle nuances of natural beauty through brush and ink. By observing and depicting nature, artist integrates the characteristics of object with subjective will, elaborating the significance of imagery in refined language.

Inheriting the taste and the traditional core of landscape painting, Qiu Ting explores the inter-relationship by opening a dialogue between human mind and the law of nature, creating a scene within; Tai Xiangzhou traces the origin of Chinese landscape painting emphasises the development of conventional form. He expands the theme from objects on earth to entities in outer space, exploring the mysteries of the universe; Zeng Jianyong extracts rules from traditional Chinese painting and calligraphy. He creates a multi-dimensional illusion of landscape, by using overlapped lines and shapes from different latitudes to form a continuous space; Pan Wenxun depicts divinity in human form with a free and ethereal state of mind, creating a distant spiritual world full of warmth and love, a space of imagery, a realm of harmony.

Artists takes meaning from nature and spirit from ink and pen to seek clarity in life. When creating work, they appreciate beauty of the imagery. In realization, they construct the realm of nature.