中文 
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"Too similar to vulgarity, not dominating the world, beauty lies between resemblance and difference" is the way of painting. Throughout the creative process, artists often reject the effect of grandeur and totality (which is in fact unattainable), resist smoothness, harmony, and fluidity, and deliberately pursue imperfection, dullness, or a sense of subtlety and seclusion. This is akin to the inner essence of brushwork in Chinese painting. Stubborn brushstrokes are inevitably more powerful than fluent, light, floating lines. The former can penetrate through to the back of the paper, while the latter gets lost in weakness and superficiality. Contemporary master Huang Xiang uses extremely casual and eclectic lines to depict thatched cottages, branches, and rocks, enabling ink and brush to express the highest realm of heart, form, and intention, allowing Chinese ink painting to enter an exalted artistic realm through a highly calligraphic state. In addition, Li Keran’s landscape style was also achieved through a series of ink and brush variations.
The rise of modern painting, including the general development of painting, precisely stems from artists’ strong inner desire to completely break away from blindly replicating established formal norms and to liberate their artistic individuality—seeking possibilities for self-expression within incomplete visual symbols. It renders diverse artistic patterns distinct from unchanged traditional formulas, constituting another new aesthetic antenna.