Shanqing favors inkwash drawings of lotus, without affecting any sense of realistic space. He cares not only to reproduce the living nature, but strives to image personal impressions. The symbol-like frames we are to see in this album are by no way similar a duplicate of one another. In most cases we will meet spontaneous strokes depicting the inner mind and status of existence of the author, which seems easeful, quiet, straightforward and carefree.
　　Shanqing has his way in revealing the living state, the expression of which is the lotus in these paintings that challenge our everyday visual experience. These singular images are also a portrait of the author’s mentality. In this sense, Shanqing resembles Ni Zan who draws bamboo only to expose his carefree mind. We are persuaded to believe that he seems to have grasped the essence of Tao, that is to say, the essence of everything. All external objects are but forms of expression, symbols of our imaginations and emotions. Here, we find no objective standards of contemporary aesthetics, and the aesthetic object has itself become an object of Aesthetic Attitude which has dispensed with Sense and Morals. The essence of paintings lies in the visual elements of colors and shapes rather than the subject matters. It is a un-concealment that conveys communications between images instead of thinking. We are to find in this fresh collection both easily discernable lotus and ambiguous but amazing ones; some cost little to be identified; others appear to be sufficiently effortless. There is a sense of uncertainty and remoteness that tend to obscure time and space. In such vagueness we are lulled to leave behind the ostentatious reality and become absorbed in the works.
　　Shanqing is connoisseur of Chinese paper and inkwash paintings. Inkwash skills constitute a part of his mentality, and work well to display the existence of the author. In these paintings, lines or space, light or dark, all designs seem a spontaneous flow and reflect the author’s inclination for casualness and unpredictability. Reproduction of traditional skills in many pieces seems to be finished instantaneously as the unintentional nature is. The beauty of nature lies not in the setting sun, but in every moment; every pebble has an unintentional position on the sands and makes a masterpiece of nature. Man-made rules, in contrast, are a product of consciousness. We admit that ORDER is one method for understanding existences through which we understand the will of existence. It is but one among many demands of human beings. Reason calls for definite values; but the fact is that casualness exists in everything and every person. What Shanqing is doing is to de-construct this inevitability of ORDER. He only rejoices in the relish of unconscious productions.
 

作者：ludatong