中文 
en 
The so-called "high, large, and complete" thematic creations spawned in the 1950s and 1960s extended aesthetic tendencies toward fanaticism and even absurdity. Consequently, since the 1980s, it has triggered and manifested an artistic contemplation phenomenon: "high, large, and complete" is no longer the sole supreme standard for idealistic creation. Painters have drawn various beneficial inspirations from Western modern painting, enthusiastically pursuing techniques such as distortion and exaggeration—ironic and absurd methods. In fact, they are seeking a way to break free from existing lifeless norms and to shape an art form that is somewhat unfamiliar to people but is, in reality, fading away. Thus, the outline lines in the paintings are no longer merely straight but may be crooked and uneven; figures are no longer solely tall and imposing but may also come from ordinary, simple people around us. Some artists focus their gaze on peeling walls, cracked tree roots, worn-out tables and chairs, and so on. Other artists have been inspired by ancient historical relics such as the Dunhuang Mogao Grottoes and the Yongle Palace murals, drawing nourishment from them or using them as subjects of creation; the visually fragmented and weathered imagery carries profound cultural connotations...
Near my residential community, there is an old pier called Shapowei, very familiar to local residents. It is a harbor where fishing boats commonly come and go, its landscape formed by the weathered hulls of boats, imbued with a subtle beauty due to the accumulation of years. Compared with brand-new parks or skyscrapers piercing the clouds, these weathered, even ancient fishing boats hold a special allure for me. They manifest various meanings of life through incomplete or uneven forms, allowing me to glimpse another kind of beauty.