The symbolic meaning of symbols has a meaning of language, painting is the same, refinery, " Image " after the "objects" to obtain an integrated perception, virtual and real is the biggest characteristic of the painting as the adoption of symbols to express.

However, when we have insight into the language as reflected in the objects, the painting is not conscious of the significance of a symbol generated in the sector between industry and imagination. "Nature" is also attributed to the emergence of this model, which describes itself through the symbols, and symbols is a general reference - to be in the summary of the outside purification, disintegration of things for Reconstruction of a new experience, this experience infected with the audience in the first time, the images that the artist created award a perfect incentive structure to the consciousness of the audience from the output to the release, the composition and decomposition of each structure may be different.

In " Object-image • nature", it is not only the embodiment of political, war, the right to performance, but also elaborate on the industrial civilization, and more "Comprehensive interpretation"to the true feelings to life.Both the detailed structure, or a super-realism or fantasy, the artists have taken the way exaggerated in shaping the image.For example, oil painter Wang Qiang combinats the human body with clothes,and fur with the foil in different colors, a variety of female human body’s beautiful state to be reflected in the clothing, as if women's hormones are already open to spillover canvas. "Language’s real meaning is the metaphor and metaphor is understood as using of symbols of the object that you want", from a philosophical point of view, we seem to be set up with the idea of the artist's intention, but it will never be able to go on the definition of what is the real significance of the woman on the clothing.

Marburg is the founder of the modeling concept of super-structure and of representatives of the Chinese postpolitical arts schools. His works is unique in the contemporary arts. The concept of network modeling beyond the structure drawing in the understanding of the depth and in the ability to use, it contains components of post-modern deconstruction. In the paintings, Ma Bao-zhong mainly concentrated in the great social background, and was also the first one to place his eyes on the post-Cold War theme, concern about the international situation, political and economic changes.The meaning of his work is not a reproduction of the incident, but the objective performance of the political, rights.

Has nothing to do with political rights, has nothing to do with desire. Hao's work is extremely accurate portrait of the stones in the bottom of the river, the degree of confused as real ones, from the mapping out of the water, giving the impression that the most intuitive. The other is the surface of the water reflecting the sky and white clouds, white clouds and rocks. Hao's works not only reveals the day-to-day experience that has been always covered by the accustomed art of thinking, but also reveals things itself that has been always sheltered by the day-to-day experience. When Hao use the techniques of Super realism to depict the stones and white clouds ,although they although they were described to be confused as real ones, the stones and white clouds is no longer the stones and clouds on the daily life. Different from traditional realism, behind the super-realism there is a new philosophy. According to this philosophy, in their daily lives, we all function with a high view of things, which can only see the things we need to comply with a certain respect, for the thing itself that we need in the shelter.

Fang Hui-ping art prints with exquisite language, so that we will use the spirit of free self-consciousness in the life of a real life, the feeling and the Sword in the art, etching, acid various material limitations mutual exchange between the collision of a director picture of life, unaware of the sense of space and constitute a variegated color Fang Hui-ping statement like that. In his version of a number of inter-weaved into the passion to run and continue to experiment and explore the state that he had made: "the surge has nothing to do with me, this time there must be that time of the painting."