On "impressionistic Meticulous" Aesthetic Image Expression

It was not proposed until the 1990s by Mr Tang Yongli that the aesthetic feature of "freehand-mind" quality in traditional Chinese fine brushpaintings should have been considered as a special research project. Mr Tang has been developed since then an arduous but profound programme of fine-brush-painting-with-freehand-mind experiment. As a result of keeping abreast with the times, modern concepts of painting have been mixed up into the very sprit of freehand-mind of traditional Chinese finely brushed works. Hence the proposition of the research project mentioned above. As a matter of fact however, we can also be clued in on such proposition by Shi Tao's statement saying that the movement of a painter's brush as well as the expression of his ink is expected to be depend on his whole age. Shi's statement suggests the willing and aspiration of a creative artist. His effort on carrying forward the tradition essence of Chinese painting and on breaking new ground by assimilating fresh western idea of painting has activated the reform of traditional Chinese fine brushpainting. Freehand-mind in finely brushed work means the exposure of a much innerer landscape of mind, which aims to present aesthetic sense rather than visualized symbols through the transfer of one's talent from "method dependency" to "non-way as the way". By so doing, a new visual language and a new field of Chinese fine brushpainting are of great possibilities.