In the sphere of symbology,“neng zhi”(the vision impact) means psychological “impression and trace” made by the sound unit of the symbol; in contrast, “suo zhi” means the meaning of the symol.After the “concept art” became a known subject, we developed a rule of game in which “suo zhi” (the meaning of the symbol) produces “impression and trace”.The better application of this rule of greatly expands the imaginative space of art; the worse application of it, just borrows this deducible logic system turning the artistic creation into a seemingly plausibie notion and applies it as a systematic treatment like “one produces two,two produces three, three produces everything”. The joys induced by artistic creation are turned into a meaningless game of notions. And this way of notion deduction is even worse in the artificial art market.In this background, Yongjie Pang uses a pure form, color, volume and lines to express “the joy of the eyes” and “the satisfaction of the mind” when people confront pure visional experience in his painting and sculpture which making him appears to be more sincere. The color he used was evolved from flok decorative art combined with his visional study of color in the modern western art. The structure of his painting was in the process of continuous refinement.He uses simple lines to express the complex space relations, eventually form the highly continuity of flat and cubism in vision.In Pang`s early works, we can clearly identify that the origin of his maternal shape comes from folk decorative art. The free description of females with big breast and big hip brings simple happiness and satisfaction. Similar visual appreciative experience can be found in many folk art works and modern western art that draw inspiration from eastern decorative art shape.At this stage, Pang`s work just concludes the form of “shape transplant” in which he joins the individual shape factor coming from the folk maternal art into a constructive painting process in general structure. After this stage, He draws from this panoramic far-reaching perspective into the interior of the object. The changes of the perspective bring about his different attitude toward the observation of the object. Ever since ,the folk factor in his painting gradually disappears. Instead, a more tolerant thinking on maternal subject begins to shape. Lines and colors are set free from the early half true- to-nature shape and become more free and subjective.At this stage, the whole image was cut and reconstructed due to the change of the perspective of the subject. Therefore, the power of those lines and color block was fortified while the painting`s aesthetic style was tumed from decoration to expression.For instance, in his structure, the object does not appear entirely in the picture. Instead, he uses a “broken” method in Chinese painting structure letting the frame to break the integrity of its object. Thus brings flexibility to the relationship between lines and the space relationship with the overlap of these lines. The relationship beween lines and beween lines and the volume it represented is reexamined while the subjectivity of the lines is emphasized.