Original
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Years Of Creation
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It is the only painting that I only treasure.
This is an acrylic figure portrait in the style of ink painting. The painting outlines the figure's form with agile and expressive lines. Despite the simple outline, the twists, turns, and variations in the thickness and lightness of the lines endow the shape with a unique rhythm.
The painting centers on the profile of a woman. Her closed - eye gesture is like a private spiritual monologue, conveying a sense of tranquility, introspection, and even a touch of dreaminess.
The focus is on a woman with her eyes closed, who seems to be immersed in her own spiritual world, becoming a bearer of emotions and thoughts.
The woman in the picture has long hair presented in a soft purple hue. The hair flows naturally, as if gently fluttering in the breeze.
This painting uses a unique artistic language to outline a portrait full of emotional tension. The features and contours of the figure in the painting are distorted, and the color collisions are bold and impactful.
The oil painting shows that the woman in the picture undergoes surreal distortion in her facial features and contours, breaking free from the constraints of conventional human proportions and presenting a unique abstract aesthetics.
The figure in the painting presents a surreal visual effect through line deconstruction and color blending. The long hair is rendered with gradient colors such as pink and purple, like a flowing ribbon of emotions, twining around the head contour, demonstrating the richness of color layers.
The outline of the woman in the painting is presented through smooth outlining. By using gradient color blocks, it blends colors such as blue, purple, and pink, creating a hazy beauty of color blending, as if a layer of dreamy tulle is draped over the figure.
The figure in the painting has its outline precisely drawn with smooth lines, presenting the form of a slender neck and a simplified shoulder, demonstrating the artistic charm of shape refinement.
In the picture, the mountains and sky are presented through color layering. The blending of colors such as blue, purple, and green creates a hazy yet powerful atmospheric rendering, as if leading viewers into a dream - like alternate dimension.
End of the Scorching Sun employs highly expressive artistic language, breaking free from realistic constraints to lay bare the soul's soliloquy through the collision of colour and line.
completing a deep decoding of the “fluttering” theme in the dialogue between colors and lines.
The ink - colored rendering of the long hair, using the wet - on - wet technique, creates a dense and lingering heaviness, like accumulated thoughts, becoming a dual anchor for both vision and emotion.
In the interweaving of colors and lines, the figure’s expression reveals the fluttering of the soul.
The posture of the figure resting the cheek on the hand, through moderate deformation processing, intensifies the emotions of contemplation and loneliness, becoming a concrete symbol of emotional expression.
Using a Cubism - like decomposition and reorganization, it showcases the multi - faceted nature of the soul.
The seated stillness, downward tilt of the head, and slightly ambiguous gaze suggest bewilderment, fatigue, and withdrawal—the moment after intensity subsides.
When defined as a "portrait," this painting quietly rebels—it captures no standard expression, offers no identity markers.
The painting presents a theatrical portrait of a solitary woman. The title End of the Blazing Sun 7 creates a cold–warm irony: while the name suggests the blazing climax of heat, the image wraps the figure in bluish-gray tones, resembling ashes after fire. The central theme becomes the idea of “clarity after exhaustion.”
This is a half-length female nude, yet it avoids narrative realism and turns toward a self-portrait of mood and light. The title points to the “end of the blazing sun,” but the canvas is dominated by cool blues, forming a sense of “condensation after heat”—the body becomes a thermometer rather than a story vessel.
The lowered gaze and muted lips suggest a stance of both intimacy and withdrawal. The work resists erotic excess, instead presenting self-possessed sensuality after the heat has faded: warmth lingers on the surface, while the mind retreats into restraint and cool detachment.
like a fruit produced by aggregating the most exquisite ingredients in nature.
At the junction of bed and body, wet-on-wet dragging softens transitions. The thick impasto on the hips and knees forms tactile nodes. The rhythm of brushwork shifts from rigid to soft, marking the passage from object to flesh.
Before the soul comes and after the soul leaves, a body is no different from anything else in nature. If you no longer miss.
The face is the language of flowers.
The painting embodies a subtle conflict between desire and restraint, expression and silence.
Her fingers rest against her cheek, eyes half-closed—caught between summer drowsiness and moments of distracted thought.
Sex is like that.
Choose what to eat tonight, what speed and posture to walk on the road, and count the days to meet friends and lovers.
In the vast and lonely sea, a clear and pleasant warm current once flowed around me. Warm enough for a long time.
As I experienced the differences in my friends' lives, I also experienced the love they each built on their city lives.
This is one of the appearances based on the appearance of my friend. When this painting was completed, I had no doubt that she had this appearance.
This is the era I live in and the path that our peers in the same situation must take.
The warm brown in the background is not a single flat lay, but incorporates subtle tones such as gray - purple and tea - yellow, laying the foundation for the “melancholy” mood and building the base color of the emotion.
In the act of viewing that breaks habits, actively explore the emotional context of the picture, twisting the “daily moment on the windowsill” into a surreal emotional wandering that requires focused experience.
However, the bright yellow in this work is more in line with the simplicity of rural children, lacking the strong spiritual tension of Van Gogh's style.
However, Anigoni tends to the rigor of classical realism, while this work uses modern partial interception to amplify the efficiency of emotional transmission, touching the viewer's heart with a fragmented modeling.
The figure's outline and hair are outlined with implicit brushstrokes, abandoning the complexity of excessive realism.
However, it adds more of the unique thinness and sensitivity of youth, hiding the “loss” mood in the relaxed forms of the limbs and clothing.
They can explore the artistic expression of youthful tenderness together with Miss Zhang Xian.
The fluffy texture of the hair, the subtle wrinkles of the hand, and the undulating texture of the clothing are all meticulously portrayed by the painter.
The whole painting was completed in 30 minutes without any modifications.
In terms of composition, the arrangement of characters at different heights breaks the conventional balance, creating visual tension.
It can be compared to Chagall's poetic reconstruction of reality in his works, interweaving real - world elements and illusory artistic conceptions
The animal beside her, the leaves in the background, and the yellow border echo each other, as if creating a nested "picture - in - picture" effect.
Placing the figure amidst hazy scenery creates a surreal, dreamlike atmosphere, inviting viewers to experience boundless reverie within a confined space. A concise layout conveys profound artistic conception.
The Flax - haired Girl presents a touching portrait of youth to viewers with simple yet powerful artistic expression.
Qin is my good friend, and this painting is also a parting gift. It is my first time to create a male figure painting.
This is the era I live in and the path that our peers in the same situation must take.
This is the era I live in and the path that our peers in the same situation must take.
This is the era I live in and the path that our peers in the same situation must take.
This is the era I live in and the path that our peers in the same situation must take.
This is the era I live in and the path that our peers in the same situation must take.
This is the era I live in and the path that our peers in the same situation must take.
This is the era I live in and the path that our peers in the same situation must take.
This is one of the few paintings I did without any resistance, and it was a natural success.
Now when I think back, I have forgotten what I wanted her to remember at that time.
Miss Lin