In the times of imagery, the artist’ creation is undoubtedly confronted with the aggressive challenges of various kinds of image information. Within such an environment, only perseverance and exploration in the depth of his own inner world could create works belonging to the artist himself. For these years, Yan Feixiang has been whole-heartedly concentrating on his own spiritual territory without intention to be famous or flippant emotion, therefore, when his works are presented before us, we could see the landscape self-sufficient in spirit and completely independent in formal language.As an artist growing up in the 1980s, Yan experienced the circumstances that Chinese art was influenced and impacted by western art just like the others of his generation. Among the artists of this generation, western academic ideology usually became the leading concept, therefore influenced their art language to emphasize the form of western art. During the beginning phase of Yan’s painting creation, he had also been once fascinated by abstractionism of western modern painting, assuming that abstract language could provide the pleasure of expression and satisfy the free ideology. However, during the process of his art development, he gradually realized that the language forms of abstract painting already had enough patterns, and as a Chinese artist he had to seek for conceptual assistance in the resources of local culture to shape his individual appearance different from the existed patterns of abstract painting. The turnaround of his leading ideology strongly supported his direction of exploration. Obviously, his painting is the combination of Chinese classic aesthetics with modern individual perception. The continuous pictures present the landscapes corresponding to the vitality of nature, and also spontaneously integrate the formal interest of traditional Chinese painting art. The composition mainly focusing on black, white and gray not only reflects the rational control of the whole picture, but also reveals the extremely pure feelings devoted during the process of painting. In the diffuse composition, the delicate texture in the picture surface is like the trace left by lightly blowing air, which is also the trace of time. According to the judging standard of traditional Chinese art, his works are paintings with cultural character.Yan lives in Shanghai, a metropolis regarded as the symbol of Chinese society’s development, where the disturbing and complicated changes from outside world would easily influence the artist’s mental status during creation. However, like a hermit living in the metropolis, he has been only conversing with his own works for many years and walking towards the path of pure painting through the manual labor day after day and year after year. As a whole, Chinese contemporary art presents two prominent features, one is evident sociality, as many works are related with the social facts among changes; and the other is symbolism, as the artist forms his own style through emphasizing the features of his works and discernible symbols. To a certain extent, Yan’s works also have sociality, only this sociality is concerned with the modern psychology as a guardian of his spiritual territory instead of being related with the specific reality in life. His works also have symbols in the painting skills, which is more like the token of Chinese local cultural spirit. In this sense, as a contemporary artist, Yan Feixiang manifests a kind of unique creativity.