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.

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.

Generally, a new generation of young artists that shows superb technique boasts a range of stunning academy backgrounds. Yet, the few who are truly outstanding are able to maintain a sense of self-integrity and remain true to themselves. Zhao Bo and Xun Guipin indeed fall under this category of artists. With a sense of sorrow, Zhao Bo reads many books and contemplates many things. However, similar to Schophenhauer’s extreme pessimism as well as the notion of “when things reach an extreme, they can only move in the opposite direction” in Chinese philosophy, the ultimate sadness is also the expression of a boundless love for life and living. In contrast, Xun Guipin offers a more sunny personality, perhaps because the influences of social change have been comparably weaker in Yunnan than elsewhere. Or, perhaps he lives relatively closer to the countryside, so that he is able to maintain a more simplistic and content attitude.