Throughout the long history of Chinese traditional painting, artists have continually explored and innovated, forming numerous unique techniques and theoretical systems. The Illusory Conception Method, the Seven Colors in One Stroke Method, and the Ink-Color Layering Method are crystallizations of these precious artistic experiences. They have not only expanded the expressive language of painting but have also deepened the spiritual essence of artistic creation, forming the theoretical foundation for the gradual development of Mr. Moran’s Fantasy-Color Freehand conceptual and artistic system.

During the formative stage of Fantasy-Color Freehand, the establishment of the Illusory Conception Method embodies the aesthetic pursuit of “likeness and unlikeness” in Chinese artistic philosophy. This creative approach goes beyond the mere reproduction of objects, instead endowing the artwork with deeper meaning through the artist’s subjective reinterpretation. As Qi Baishi famously said, “The essence lies between likeness and unlikeness.” The Illusory Conception Method seeks an artistic truth that transcends visual reality. In the act of creation, the artist must grasp the fundamental characteristics of the subject while also integrating personal emotional experiences and spiritual insights. This allows the work to maintain recognizable forms while containing a boundless space for extended meaning. This method places particular emphasis on the use of color tone, leveraging the emotional expressiveness of color to imbue the work with a soul and the power to move the viewer. The Ming Dynasty painter Dong Qichang, in his Notes from the Painting-Meditation Studio, emphasized the importance of “conveying spirit through form.” The Illusory Conception Method represents a deepening and development of this very concept.

Mr. Moran, born Lu Jinsong with the courtesy name Guanyu, is a painter and contemporary artist. A student of the great master Mr. Ran, he is the founder of the Fantasy-Color Freehand ink painting style. He graduated from the Stage Design Department of the Liaoning Opera Theater and later completed the Advanced Studies Program in the Oil Painting Department of the Lu Xun Academy of Fine Arts. In his early years, he received personal guidance from the painter and art educator Wang Shenglie and Lü Fuhui. Proficient in both Eastern and Western painting techniques, his works have been exhibited on numerous occasions and collected both domestically and internationally.
Since embarking on a period of seclusion and artistic exploration, Mr. Moran’s accumulated insights and reflections have surged forth, leading to the creation of large-scale works that radiate a dynamic and awe-inspiring energy. A unique ink language, distinctive to a creative painter’s vision, has gradually taken shape, characterized by a strong sense of color modeling. In his works, we see the refinement of brush and ink techniques representative of Chinese culture, integrated with the luminous color sensibilities of contemporary Eastern and Western artistic traditions, layered onto the canvas to fulfill the mission entrusted to this era.

Through his newly created works, one can trace the very distinct, deeply embedded traces of brush and ink. The artistic process is not constrained by the traditional understanding of ink art held by ancient masters, as we exist in the contemporary era—a time of multicultural integration where Eastern and Western symbols converge. The latest language of ink should be presented, rather than works that merely rely on the superficial accumulation of brush and ink imitating photographs. We must traverse the paths paved by our predecessors, internalizing their essence, while also forging new paths they did not take, proposing innovations such as the “Seven Colors in One Stroke” technique.
The innovative significance of the Seven Colors in One Stroke method lies in its breakthrough of the color limitations inherent in traditional ink painting. This technique was pioneered by the late master, Teacher Ran, and later elevated and expanded by Mr. Moran. Traditional Chinese painting primarily emphasizes ink and wash, with relatively simple use of color. In contrast, the Seven Colors in One Stroke method greatly enriches the color expression of the artwork. It is important to note that the “seven colors” here are not merely a literal number but rather refer to the comprehensive application of multiple hues. The artist must precisely control the amount of pigment, its degree of wetness or dryness, and its distribution on the brush tip, achieving rich color variations in a single stroke. This technique places extremely high demands on the painter’s foundational skills, requiring not only mastery of the expression of lines and planes in traditional brush and ink but also an innovative sensibility for color. Zou Yigui of the Qing Dynasty discussed the essentials of color application in his Xiaoshan’s Manual on Painting, and the Seven Colors in One Stroke method elevates these theories to greater heights. Works created through this technique exhibit stronger textural richness in color, greater depth in layers, and artistic effects unattainable through monochromatic washes.

From the perspective of artistic development, these innovative techniques hold significant practical importance. Firstly, they enrich the expressive language of Chinese painting, enabling traditional art forms to better adapt to modern aesthetic needs. Secondly, these techniques break down the boundaries between tradition and modernity, as well as between Eastern and Western art, opening up new possibilities for artistic integration. Most importantly, they demonstrate that Chinese painting, as an ancient art form, still possesses strong vitality and innovative potential.
In specific creative practice, artists can flexibly employ these techniques according to their expressive needs. For example, when depicting the essence of landscapes, the Ink Layering Technique can first be used to construct the framework of the composition, followed by the Seven Colors in One Stroke method to render the atmosphere with color. Finally, the Illusory Conception Method can be applied to deepen the spiritual essence of the work. This integrated approach often yields unexpected artistic effects. The theory of “One Stroke” proposed by the Ming Dynasty painter Shitao, which emphasizes the unity and innovation of artistic creation, aligns closely with the philosophy underlying the comprehensive application of these techniques.

Contemporary art education should emphasize the study and transmission of these innovative traditional techniques. On one hand, it is essential to deeply understand their technical principles; on the other, it is equally important to grasp the aesthetic philosophy embedded within them. Only by giving equal weight to both technique and concept can one truly master the essence of these artistic methods. As Fang Xun of the Qing Dynasty emphasized in Shan Jing Ju Hua Lun(Painting Theories from the Mountain Studio), “In learning painting, it is valuable to embody the spirit of antiquity,” yet one must also “derive new meaning within the bounds of tradition.” This precisely reflects the correct attitude toward innovative traditional techniques.

Looking ahead, innovative techniques such as the Illusory Conception Method, the Seven Colors in One Stroke technique, and the Ink Layering Method, employed in Fantasy-Color Freehand, will undoubtedly continue to inspire the creative endeavors of a new generation of artists. While preserving the essence of traditional brush and ink, these methods offer rich possibilities for the contemporary evolution of Chinese painting. They are not only the crystallization of wisdom in traditional Chinese art but also a pathway to artistic innovation oriented toward the future. As Mr. Pan Tianshou aptly stated, “Tradition is a living entity, not a rigid doctrine.” These innovative techniques vividly embody the enduring vitality of traditional art.
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Text: Xing He