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.

Zhong uses “The Silence After Happiness” to coin his series of artwork. It is seemingly full of poetic sentiments, but it is vastly different in reality. Artists are evidently not “singers”. Instead, they are like “passerbyers” who encompass a sense of apathy, ridicule, and humor. Based on the previous phase of experimenting with materials, Zhong “jokingly” created various planes of texture, incorporating an assortment of colored grids into an uneven texture. From the surface, Zhong Jinpei’s artwork often inspires people to think of bed sheets, curtains, tablecloths, and other everyday textiles. Embodying an evident theme of everyday life, it corresponds to our life experiences.