The paintings in this album are the depiction of some places I traveled to. As I appreciate the splendor of nature, I have a deep understanding of the internal spiritual force of the profound and great nature. When I draw a painting, I make great effort to express my impression of nature, so, to express personal experience is the motive of my artistic creation. At the beginning of a drawing, I take the following elements as goals: to express the rigor of structure, to expand the space of expression, to give free rein to the potential of material, and to deepen into the language of form. In this process, I have accumulated some experiences.
By reason of the material, in drawing process it calls for special consideration. II II expound the main points as follows:
Because it has nearly no possibility of modification, before the first touch, the painter must have a well-thought­
out stratagem in his mind. He ought to consider well in advance the effect the work pursues, the form it may adopt, and where in the drawing to be unsolid, and where solid. And the sequence of the drawing step need be planned well too.
The effect after water and color mingled together is difficult to be predicted in drawing process, and this is the
reason why it is hard to control watercolor. So, one must have keen sense in drawing process and handle the fortuitous effect with decisive manner.
The painter must think over where to be left blank, because the more or less will affect the overall effect
seriously. It is necessary to attach importance to the summary and extraction, to heighten the entire atmosphere, to stress certain details, and to control the solid and unsolid to ensure the principal part located at the center of interest.

Striking contrast of solid and unsolid can bring about dramatic effect of great intensity. To watercolor, the reflection and diffusion of light serve as a foil to the definition of the solid place, the unsolid part then recesses to the “uniformity”, and this is one of the most glamorous features of watercolor, the solid and the unsolid interacting each other to produce a beautiful arrangement of light and dark.
Whether the painting possesses the feature of reality, relies on the grasp of the objective matter, and on the meticulous observation of light and shadow. The grasp of light and shadow is the most challenging point in watercolor, and accurate delineation of light and shadow grants vitality to the drawing.
The transmission of artistic conception, rhythm and lingering charm is the soul of painting. “Lingering Charm” ought to be comprehended as the entire spirit of the work, and “Rhythm” is the melody of form. The embodiment of the two points relies on the correct utilization of the language of form and depends on the polishing and refinement of nature. The ancients’ maxim: “To take shape from nature, and express what in your mind.” is in effect the goal of all sorts of arts. A piece of excellent work is the product of nature and thought encountering in one Is heart, which contains the beauty of objective world, and at the same time condenses one Is inmost feeling.

For the reason of material and medium, in the expression of certain sorts of subjects, watercolor and Chinese traditional painting of water and ink have interlinked aspects on conception of art and method of expression.
To express one Is spiritual perception to objective matters is the unique feature of the art taste of Oriental nations, which has the tendency to concentrate on “the similarity of inmost spirit”, but not “the similarity of outmost form”, and this is called “transmission of spirit” (Gu Kaizhi), “the vividness of rhythm (Xie He). Viewed from Chinese classic culture, our philosophy conception was based on the inter-supplement of Confucianism and Taoism, thus established the romantic and unrestrained aesthetic inclination. Chinese traditional painting of water and ink emphasizes: “ to use the painting skills as tools to attain the poetic realm.” Watercolor can get much inspiration from the spiritual expression of Chinese traditional painting of water and ink. In watercolor, one can feel the aloof and profound Oriental demeanor from the wide-dripping effect of water, the succinct handlement of color, the unrestrained style of brush stroke, and the elegant elasticity of visual effect. In watercolor, fluid beauty of melody, spacious beauty of poem, agile beauty of brush stroke are presented, and much stress is laid on the change of dry-wet of color, the rhythm of brush stroke, and the combination of rhyme scheme of water-trace. And Chinese traditional painting of water and ink is particular about the change of dark-light of ink, and the taste of brush strokes showing the shade and texture of rocks and mountains. So Chinese traditional painting of water and ink can supply reference to watercolor on the aspect of skill.