Spring River testifies to Pang Jiun’s ingenious depiction of a mountainous seascape. As the foliated branches of the flowering tree in the foreground beautifully imbued with magenta pinkish florets signifying the arrival of Spring opens up to a boundless magnificence view of the waterscape. A man sails peacefully on a sampan against a mountainous backdrop rendered in the artist’s signature tones of grey. The water so pure and clear that it almost sparkles as it ripples with the reflection of the mountainous scene far away into the distant. Art critic Pedro Tseng posits Pang Jiun as a researcher shuns both the older-generation preference of realist depiction to modern art, and a blind worship of the Western modernism which radically denies the classical heritage. He relates the classical to the modern, and imbibes their peculiarities to his advantage; in the process, he also discovers the thread running through oil painting and Chinese painting, particularly the Xieyi ink painting, despite their different systems. In the modernist masterpieces, he perceives the qualities of Xieyi, symbolism, and expressivity indicative of those of the literati painting. His examination of the theory and practice of both the modern Western oil painting and the Chinese ink painting leads to his conclusion that a highlight of Xieyi is one of the most important ways to regenerate Chinese oil painting. (Pedro Tseng, ‘Realism, Impressionism, and Eastern Expression: A Phenomenological Approach to the Cross-cultural Thinking in the Language of Pang Jiun’s Painting.)