The participating artists are connected in terms of painting language to the theme of “empty cold” through unique creative approaches. Wang Jieyin works with the simple and pure deform of nature and the lingering echoes of sound. Liang Quan works with the naturalness of abstraction and the lingering flavor of prosaicness. Hong Ling approaches the naturalness of nature and the silent confluence of spirits. Cao Jigang transforms the tones of nature into ink, and lingering sorrow into silence. Shen Qin works with gardens of nature and the open space of roving dreams. Chen Feng approaches the cultural memory of nature and the afterimage of hills. Liu Guofu’s is the spirit of nature and the spirits of the afterimage. Xu huaxin ink works have the texture of jad with the sense of empty cold.

Hong Ling has spent over 20 years in Mount Huang, and in his works, we can see the fusion between his rich inner mind and the mysteries of the natural landscape. “First, establish its greatness.” Hong Ling has consciously brought the “spirit” of Shanshui painting into landscape painting. When we look at Hong Ling’s works, we see on one hand what appear to be traditional colored shanshui painting, but they are also richer than traditional art, with the turquoise, sage green, and dark dreen of the image also incorporating the colors of oil painting and interacting with the natural scenery to be formed. On the other hand, his works has enriched the colors of western oil painting, because it looks more natural, infusing his colors with a sense of time, making them more natural and rhythmic.

Through a basic study of these three sections and the three generations represented, we can see that all these artists draw on various aspects of tradition. We attempt to establish a dialogue with Western modern art to form an individual language style and revive the eternal nature of Chinese art. The mission of Chinese painting is summarized with the following question: After Zao Wou-Ki, how can we thoroughly and abundantly rebuild the relationship between the spirit of nature and modern life, while integrating landscape paintings with those of scenery? Indeed, it is necessary to re-stimulate natural elements and activation of a Chinese artistic spirit. This will inevitably restart a new future for Chinese art.