在明镜之前或与他同时从事抽象性绘画的中国画家,各有不同的艺术取向。他们一般喜欢借用传统文化符号或传统文化意象为自己绘画的基本架构。在形式语言上,对强烈、神秘、繁杂、刺激的追求,远远超过对单纯、平静与和谐的爱好。而在作品构思上,常常给自己设定了大量需要解说或者需要展示的问题,例如中国古老的庄禅精神或是西方现代的存在主义哲学之类。因此,从写实走向抽象的步伐,并没有放松中国艺术家的创作心态,他们反到更加沉重了。与此形成对 Chinese painters who used abstract paintings before the mirror or with him had different artistic orientations. They generally like to borrow traditional cultural symbols or traditional cultural images as their basic framework for painting. In the formal language, the pursuit of strong, mysterious, complex and exciting far exceeds that of simplicity, calm and harmony. In the conception of his works, he often set himself a great deal of problems to be explained or displayed, such as the ancient Zhuang Zen spirit in China or the Western modern existentialist philosophy. Therefore, from the realism to the abstract pace, they did not relax the artistic mentality of Chinese artists, and they were even more counter-productive. With this form right