Born in 1955, Zhou Chunya now holds the status of a "respected" within the Chinese contemporary art scene. His successful fusion of Western and Chinese styles, combined with his unique mode of expression, has made him one of the most influential contemporary artists working in China today. Precisely because Zhou's style is so distinctive, he was for many years seen as being outside the mainstream of contemporary art, but he has always remained popular with both private collectors and art museums, and his work has been a favorite topic of discussion for art critics. He ranks the top 5 according to "the most influential Contemporary Art Market index published in Artprice in early 2013. In the early 1980s, when rural realism and "scar art" were the dominant styles, Zhou Chunya chose to travel to Tibet, where he used Impressionist approach to depict the daily lives of ordinary people living on the Tibetan Plateau. In these paintings, Zhou sought to identify the different forms taken by the human spirit. In the mid-1980s, Zhou left home again to go and study in Germany, where he studied the techniques and artistic philosophy of modern Western styles such as impressionism, cubism, and neo-expressionism. Zhou's return to China coincided with the Tiananmen demonstrations and the subsequent massacre; this was a time when many artists were starting to focus on serious issues relating to social change and human destiny. Zhou kept apart from this trend, instead dedicating himself to a process of artistic exploration in which he produced a series of portraits and abstract paintings of human figures that were highly experimental in nature. The art market's response to Zhou's work from this period was very favorable. Zhou went on to produce a number of masterpieces that successfully fused Chinese and Western aesthetic concepts, including his "Flower," "Stone" and "Red Stone" series. The appearance of the "Red Man" series marked a dramatic break with Zhou's previous artistic style; the bright red flesh and erotic postures of the figures shown in these paintings exude a strong feeling of sexual desire. The concept behind the earliest paintings of peach blossoms was to express the beauty of life rather than a simple expression of love.

The painting of peach blossoms is not about the flowers, and should definitely not be considered a floral or landscape painting, as it would not have significant meaning. Paintings of peach blossoms must reveal the beauty of life.

(Excerpt Zhou Chunya in a conversation with Arthur Wang)

The major changes in Zhou's style over the years have been influenced by his successive marriages. The inspiration for the "Red Man" series came from the new experiences resulting from Zhou's second marriage, while the "Peach Blossom" series were the happy fruit of his third marriage. Zhou Chunya got married for the third time in 2005. In March that year, while on holiday at Longquanshan near Chengdu, Zhou started to notice the peach blossoms that covered the hills. He found himself deeply attracted by the "wild," "gaudy" aspect of the peach blossom, and as a result was inspired to begin work on the "Peach Blossom" series. It just so happened that around this time, Zhou came across a calligraphy scroll attributed to the Late Qing calligrapher Gong Yourong (who had been born in the same region as Zhou). The characters on the scroll read: "The lake smiles at the distant mountain scenery, while the breeze blows up little peach blossoms on the water surface." The romantic style of this couplet reflects the refined taste of the literati of the past, while at the same time the lines have slightly erotic overtones; the scroll thus seems to echo the theme underpinning Zhou's "Peach Blossom" series. The works in this series represent a continuation of the use of gaudy, tantalizing colors seen in Zhou's "Red Man" series; they represent a shift away from Chinese literati painting's traditional emphasis on depicting the "Four Gentlemen" (orchid, bamboo, chrysanthemum and plum blossom), and an injection of erotic passion into the restraint and elevated sentiments with which literati painting is associated. As the artist said, "painting peach blossoms is not about painting the flowers or depicting landscape, but rather about expressing a state of mind. Magnificent spring peaches symbolize the most beautiful time in life: temporary, vibrant, and fresh. The indescribable color of peach blossoms also reflects the human desire for love and sex, an unavoidable desire. The artist found similarities between man and nature in the peach blossoms, and when depicting the flowers, he expresses his expectations and confidence in life. "

In that same year, Zhou embarked on a new process of experimentation, seeking to combine the "Red Man" and "Peach Blossom" images. Bringing these two series together created a peculiar "chemical reaction." The gorgeous peach blossoms and the human figures engaged in sexual congress beneath them became "fused"; basic human instinct, both concealed and illuminated by the peach blossom, acquired a sense of dynamic integrity, while the red figures were simplified to become symbols of desire. The rough red lines sprawled wantonly across the canvas, filling the work with a feeling of vitality and energy. In describing this series, Zhou Chunya said that "Amidst a swirling mood of color, the paintings give release to fantasy that has its source in the sincerity of instinct; within a vast background, the natural aspect of the human being is thoroughly liberated and allowed to ‘explode' – a gentle explosion!"

From 2007 onwards, this series began to change. The depiction of the red people became more concrete, and the peach blossom became more realistic; there was also a more complete fusion of the human figures into the environment. The mood became gentler and calmer; the dazzling peach color gradually faded, the previously naked red people became clothed, and new symbolic elements – such as skeletons – began to be incorporated into the scene. Gentle violence was transformed into reserved and subtle tenderness.

"Sister Flower," was first shown at the "1971 – 2010 Forty Years Retrospective Review of Zhou Chunya" exhibition in 2010, receiving widespread plaudits. In an interview, Zhou described the work as follows: "I have painted landscapes, animals, and rocks, but I had never painted human figures in this way. This painting was an experiment, a kind of 'lead-in.' I have also never painted a picture this big before. I wanted to try to overcome the limitations I had placed on myself in my past work, which was itself a new approach." The painting's Chinese name ("Elder Qiao and Younger Qiao") derives from the "Two Qiaos of Jiangdong," sisters born during the Three Kingdoms Era who were famous for their beauty, and who became a focus of competition among the heroes of that time. The "Records of the Three Kingdoms" does not give a detailed description of their physical appearance, and neither does Luo Guanzhong's "Romance of the Three Kingdoms;" nevertheless, the "Two Qiaos" have remained a popular subject for literary and artistic works down through the ages.

They are the symbols of love and youth. According to the artist, there is a kind of peach blossom called "Sister Flower" after the different red and pink color patterns of the peaches.

As portrayed by Zhou Chunya, the "Two Qiaos" are shown wearing fashionable modern clothes, smiling while appearing slightly bashful, standing amidst the peach trees. Set against the background of the peach blossom, they appear innocent and happy. The abstract red figures in coital ecstasy from the "Peach Blossoms with Red Man" series have been transformed into these nubile, yellow-skinned women. The beautiful peach blossoms in the background are unusually large; the slim-bodied girls appear to be floating in the peach grove, adding a touch of mystery to the painting.