Abstract art points to the subjective spiritual world instead of the objective material world; reflects the complicated inner feelings instead of presenting the specific objects in reality. Facing the chaotic and clamorous word, Zhao deeply feels that “the realistic substances are quickly developing and changing including the increasingly more advanced technologies, the more human desires and the more complicated and indifferent humanities, and all the things seem to be entangled during the flow with each other.” However, not paying attention to the outer world any more, she is concerned about her own perception, listens to her own heart, experiences the subtle impulses, and sensitively reacts to sounds, phenomena and smells through her paintbrush.Zhao transforms the tiny vibrations from her inner world into the lively visual symbols. These symbols contain the enlightenment of Chinese pictograph, and also absorb the elements of calligraphy in the cursive hand. Each symbol is like a character and also an independent living creature, thickly entwining each other and presenting the beauty of primitive totems. Zhao’s state of painting is as natural and fluent as writing a letter, as these symbolic living creatures incessantly flow out from the paintbrush, linking up into a rhythm like music, sometimes short and rapid, sometimes slow and relaxed. They imply the development and surging of life, and record the painter’s inner impulses.In An Evaluation of Poetry, the two phrases, “a fully open lotus flower out of water” and “too much decoration in engraving”, are used to describe two different kinds of poetry styles, and according to this Zong Baihuai deduced two kinds of aesthetic ideals in Chinese aesthetics. Simply speaking, the former is a sort of pure and fresh beauty, like the impressionistic ink painting or the blue-and-white porcelain; the latter is the complicated and exuberant beauty, like the folk colored painting, the costume of Beijing opera, and etc. The aesthetic tendency of Zhao’s works inclines to the latter, as the painting is quite dense and overwhelming. Abandoning the objective color principles to emphasize the subjective emotional colors, Zhao absorbs diversified elements from traditional Chinese folk colors and western modern painting, forming the intense, passionate and mysterious effect.