During my high school years, I developed a profound interest in traditional Chinese painting. When I entered university, I began formal training under Master Shiau Yi-Wei. Master Shiau was the principal disciple of Puru, and his painting style was nearly indistinguishable from his master’s. I remember having to copy two of my teacher’s works every week before visiting him for guidance. My teacher, gentle and kind-hearted, was too considerate to criticize my practice pieces harshly. His only pointed observation was that my brushstrokes lacked calligraphic foundation, comparing them to noodles. He encouraged me, though, saying that even noodle-like strokes could be manipulated to achieve both softness and firmness, suggesting I study the Qianlong style as reference.
        During my many years abroad, painting became my primary leisure activity. My subjects included landscapes, flowers and birds, figures, and even splash-ink paintings. As an amateur enthusiast, I committed myself to imitation rather than innovation. Over time, I accumulated quite a collection of paintings. There was an eight-year period when I stopped painting completely, for reasons I prefer not to discuss. In recent years, I’ve picked up the brush again. Though I’ve made little progress, I still find great joy in it.
        Jiu He Art is a veteran mounting shop in Taipei, and its owner, Mr. Teng, is a witty person who has been my friend for thirty years. Having seen countless paintings, he always maintained a mysterious smile when viewing my amateur works, yet strongly encouraged me to have them mounted. This summer, I discovered a batch of my student-era paintings at my Taipei residence. Excited, I selected several pieces and rushed to the gallery. Mr. Teng, upon seeing my old works, became contemplative before finally sighing, “Your current paintings aren’t as good as your earlier ones.” As time passes and things change, whether this assessment is true or false, I can only self-deprecatingly call it my “late style.”
        Dr. Hu Siao-chen, Director of the Institute of Chinese Literature and Philosophy at Academia Sinica, has been dedicated to promoting art spaces within the institute and has invited me to exhibit multiple times. Knowing my limitations, I repeatedly declined. However, when Professor Chen Pingyuan from Peking University agreed to join this exhibition, it became an opportunity too precious to pass up. I hereby express my gratitude to Professor Chen for his support, and to Director Hu and all colleagues for their kindness.