To discuss the arts of female painters, we should remain an objective observation and expression, which is quite difficult. For so long our society and the art system has been formed some fairly stable view to the arts for women, these views have affected our observations and judgments on women artists. In order to subvert these traditional male-centered unconsciousness, the U.S. well-known feminist art-historian Linda?Nochlin trying to establish a kind of nature of women's creativity in the visual expression pattern, while destroying the hypostasis advocated the reductive, the eternal "female" style, which often works fine in central images of works or the meticulous use of color, etc., as the basis for its claims. Thus, in a social specific historical period of gender differences, women artists may be directed to certain specific direction.
　　For Li Rongzhi, to talk about the feminist art-historical perspective seems to be too extravagant. She is not a woman painter who starts with theory and history first, and then enters the painting. Painting for her is a completely heartfelt love. She has a harmonious and happy family and she has sufficient time and fortunate opportunity to be able to get the appropriate advice from those famous teachers of Mural Department of the Central Academy of Fine Arts. From classical Tempera technique to contemporary art lecture, her advanced studies at the Central Academy of Fine Arts, opened her eyesight and improved her visual taste. Importantly, as to tireless in the hundreds of pieces of work creation, she access to the happiness that the others are hard to replace, which is a life of self-realization, a sense of substantial and confident.
　　However, when I saw the works of Li Rongzhi still slightly surprised. It seems that she did not have much impact of suffering college art education system. On the contrary, her art has distinct "naive painter" features, such as spontaneity, aboriginality and simplicity. For many talented college artists, these artistic qualities is very difficult to achieve, while Li Rongzhi, it seems that is not difficult, she naturally would have these qualities. I am reminded of an encounter, in a dinner, there is a Ms. drink a large glass of white wine just like drinking water, neighbors told me that she did not feel alcohol and has a natural immunity.
　　Take a look at Li Rongzhi’s portraits, I would think of Chinese painting in the early 20th century. Predecessors went to overseas countries, to seriously learn the art of Western oil painting. But after they got home, they put the plane of traditional Chinese painting into the screen, began the process of Chinese-Western oil painting. Like Li Yishi’s painting Palace Girl, has a very strong temperament of Chinese art, as well as Yan Wenliang's Kitchen, is full of smelling of straw in Suzhou countryside. And Li Rongzhi’s painting, it has such simplicity. You can try to find some of local style less "accurateness", but the smell of simplicity is everywhere. Li Rongzhi's works do not pursue high light and strong three-dimensional feeling, though oil painting they are, there's matt gouache feel, this thanks to her study of classical Tempera murals.
　　Li Rongzhi's portrait compositions are quite simple, there are not many descriptions of the environment and details, her painting Home Woman and a Small White Dog is not only the pure color and composition, but also the simple characters. The Lute Girl has been elongated shape is very holistic, intended Lin Fengmian's painting style, while shapes have the meaning of Modigliani in painting some people's eyes. Perhaps because of my education in art history, in her paintings of these simple, I always can see some of the flavor of past masters. For example, The Female Body Lying Down is a more primitive nature of the high, highlighting the line factors in the overall gray tone to maintain the subtle changes of color is not just flat painted. The Four Naked on the Lawn of The River like Paul Cezanne’s Bathing Woman, composition means that exudes the free creative ideas.
　　Characters in Li Rongzhi’s pen, both portraits and whole body paintings are positive facade of the image, indomitable, stretch the full frame. This positive center of the composition, with the simple plane of the 20th century modernist art, such as the early 20th century oil painter, Wang Yuezhi depicts three Taiwanese women in the Descendants of Taiwan, even though it is a picture of a plane but sublime. Intentionally or unintentionally, Li Rongzhi makes these characters become the Bible-style and classic portrait of a typical style, to collect them from the contemporary contexts of social life out, moved into an art space transcend the historical time and space. Can also say that Li Rongzhi’s mural painting benefits from the overall feeling, and closer to the plane of the Egyptian wall paintings.
　　In the description of the many flowers and still life works, Li Rongzhi gets rid of the portrait to her shape constraints. As the display of the still life and all kinds of flowers have a longer period of time to observe, the works seems more relaxed, more calm on the colors and more free expression to her experience of life. Li Rongzhi described two types of flowers. The first category is Peach Blossom and the Orioles,  this kind of work is very easy to engender a doubt, is this China painting painted with oil painting materials? Line elements and peace painted color blend so harmonious. Li Rongzhi flowers and still life compositions are also mostly the main center, flat-degree viewing angle. In the painting there’s Lily Green Apple, the artist shows a keen sense of the contour line, online analytical regions and the subtle control of color. Red Carpet Girl reflects the artist's sense of active composition, such as Matisse's paintings, have a strong taste of the plane.
　　Another type of flowers and still life played down the line factor, paint on the paper, directly expressed the color impression of the immediate thing. Such as works like A Cockscomb of Chicken, with freedom of expression implications, and full of zest for life. Wild Lily, line relaxed and coherent, she expressed the ordinary still life with a limited color. Not to pursue too many colors, so that Li Rongzhi avoids mixed color control. In the display still life, she never intentionally put density and white, high and low scattered so-called "beauty" of the composition, it seems that any angle, any method that placed a painting. Blue and White Porcelain Pot, jars of different sizes laid out evenly on the desktop, very different from college common still-life display way, she focuses on the performance of the glass and white porcelain vessels, experience the subtle color changes which is difficult to draw.
　　Li Rongzhi’s landscapes painting a very loose comparison and a little clumsy, you can not see the common mode of landscape composition. It not only shows the extraordinary scenery of Beijing suburbs, the Great Wall and villages under the sunset, but also the landscape in Anhui, farmers in the fields. Framing naturally, composition stable, depicting pairs of eyes have seen the overall impression of landscape. Li Rongzhi is not so much to consider conditions for the expression of color in the landscape, but rather the expression of the inherent color, and rarely express delicately the complexity level outside the light. She depicts paradise is where the ideal scenery, there is a general simplicity of children's paintings, and some scenery with the flavor of Chinese ink painting.
　　In general, Li Rongzhi's painting is not universal, but coming from individuals within a particular aesthetic tastes and the pursuit of a special type. Li Rongzhi’s painting, gives us the type of the aesthetic feelings different from college painting, but also provides us with space for reflection. An important problem is, how to treat those differences between not well-trained simple painter and highly skilled college painter? From the perspective of visual culture, Li Rongzhi art, reflects the contradiction between a spontaneous observation ,description of human ways and College observation , describe way, restored a direct observation of the eye can see and the expression of Naive nature. These qualities and potential, are they sleeping in many people's hearts and how we will go to wake it? What kind of value and effect it is in the development of contemporary art?