Similar to other Chinese artistic categories such as calligraphy, traditional Chinese opera, melody and rhythm, and Chinese poetry and craftsmanship, Chinese painting emphasizes inheriting tradition, imitating, and accepting as well as learning to understand the traditional methods. The traditional methods include the length of time and width of space. Generally speaking, the concept of imitating the ancients does not dictate learning at certain schools or techniques homogeneously, but means to learn to follow up on the past and bring in the future through different individual artists, art works and aesthetics from different periods of time throughout Chinese art history. To take a wider view of Chinese art history, all the renowned great masters and the numerous masterpieces they created carry out the same great mission of inheriting the past and ushering in the future. After carrying on the classical traditional methods, every artist broke new ground for the future with his/her unique style and continued the vitality of classics.

　　If an artist sets “carrying on the past heritage and opening up the future” as his/her mission and goal, he/she must accomplish this by “keeping the traditional methods that are good, following up those that are verging on extinction, improving those that are flawed and adding those that are insufficient.” As for “good,” “verging on extinction,” “flawed,” and “insufficient,” the perspective should be established on full comprehension of tradition. Additionally, the ability to “keep,” “follow up,” “improve” and “add” to the art style demonstrates an artist’s skills, self-cultivation and contributions to art history.

　　However, life is short, with much to be learned. According to Zhuang Zi, “Life is limited while learning is unlimited; if you try to follow the indefinite by doing nothing, you are sure in danger.” If an artist is able to follow the traces of the ancients and then learn from the hearts of the ancients, seeking to perfect one’s characters, morality, value, virtues, ambitions, capability and judgment, education and self-cultivation as well as attitude those that are beyond techniques; seeking to observe nature and law of creatures, regarding nature as one's teacher outside and thinking spirit as one's origin inside; recreating self and a spiritual world; then he/she can really display and reach the realm of “Art is small technique, but it can almost be the way.”

　　The attitude and means behind any learning and purpose is very important. The attitude often determines the means. To learn from painting from the Jin, Tang, Song and Yuan dynasties, it does not mean going back to those dynasties and returning to the past. What we should learn is the attitude of being conscientious and scrupulous about every detail and having good professional spirit and work ethics. The attitude of being neither conceited nor boastful, being moderate and peaceful, studying with great concentration while creating painting and the personality of integrity, is exactly the “hearts of the ancients” that was abandoned by the literati painters of the Ming and Qing dynasties and that is disappearing at our time.

　　The painting in the Jin, Tang, Song and Yuan dynasties, as a whole, integrates forms and connotation. It is a high standard of art that combines attaining the truth gradually, seeking the continuation and perfection of the skills, competence, education and self-cultivation, inheriting traditional methods and skillful techniques. It is the combination of "form" and "spirit"; it respects and maintains the independence of art itself and takes into consideration every aspect of spirit, form and physical appearance of an object. Spiritually and characterically, there is poetry in painting, in which there is a noble personality and integrity that is quiet, innocent, meek and reserved. Among traditional paintings, paintings in the Song dynasty are considered the greatest achievements and are the most influential.

　　Chen Yinke, a renowned Chinese historian, said that “Chinese culture, after having evolved for a few thousand years, had reached its peak at the Song dynasty.” Ink and wash painting, exalted and meticulous, careful, scrupulous and magnificent, styles and humanity, techniques and spirit, elegant and wild, using realistic methods and creating imaginary -- all of these are not the questions that are controversial and confusing like today.

　　I think that this is the confidence of a time of the highest level of mastery of art. Only such aesthetic confidence and ability can go so far, because it is the true spirit of Chinese classical painting.

　　Moreover, instead of using “meticulous painting” and “freehand brushwork,” I prefer to use the word “fine and delicate” and “extensive style.” It’s too general and unprofessional to categorize the delicacy of a painting as “meticulous painting,” and the extensive style of a painting as “freehand brushwork.” According to Zhang Daqian: “freehand brushwork means creating imaginary by using brush.” Today, “freehand brushwork” is mistakenly understood as a method or a style of painting. Actually, it is a spirit and a pursuit of a very high level; it is a perfect combination and desire of a human being, nature, and creatures as well as the spirit of an object. It is also an outside form of all the feelings and characteristics of an artist. A long time ago, there was no difference between “meticulous painting” and “freehand brushwork.” There might be differences between “non dense style” and “dense style” or “thick brush” and “thin brush.” Let’s take a look at many great paintings in the Jin, Tang, Song and Yuan dynasties: they are elegant, magnificent, glorious and delicate, or sometimes quiet and simple. But as a whole, rather than being trivial, stiff, weak, reserved and rigid, they are elegant, relaxed, and calm, striving for a middle ground.

　　The so-called “freehand brushwork” created in the period of Republic of China and today is full of commercialization, impetuousness, and worldliness. Brush and ink once is out of the restraint of the forms of objects at certain level, which is a presentation of realization, perfection, and beautification of art itself. More often, the means and purpose of creating painting and the change of the subordination relation of the two determines the level of the art. It is also the highest level of the romanization of art itself and self-discipline. “Being meticulous as silkworms spinning silk, bold and unrestrained as total annihilation” is an painter’s ability to control emotions and techniques. As for refined or freehand brushwork, using thick or thin lines is just a means of creating painting, all of which is submitted to free strokes from an artist’s heart.

　　I have learned poetry, literature, calligraphy, and painting from my father since I was young. I had been immersed in art for so long that my fondness of art has increased as time goes by. I have devoted myself to painting since I was 20. “Mastery of work comes from diligence.” It has been 20 years since I started painting, and I deeply know that to make a little progress in art takes endless diligent efforts and lonely, quiet exploration.

　　I believe that the classics through the ages can be called “classical.” The profound enlightenment of sages and men of virtue of the past, the subtle and profound language of historians, the deep and wide thinking of poets is the nutrition that Chinese painters must love and root in their blood. It is also the essential foundation that determines how much cultural value a Chinese painter is able to inherit and include in his/her work.

　　Chinese painting has a wide range of subjects. Real great artists treat each subject as different nutrition and express different moods and feelings. Artists like Zhao Mengfu and Zhang Daqian are good examples.

　　Endless diligent working and rigorous learning and pursuing are the only ways to explore the road of art. Everyday I consider everything in my past to be part of my foundation, quietly devote myself to it, quietly become enlightened; everyday I see myself as a younger me and start afresh, keep the true feelings toward art so that I can look forward to a bright future.