Since the mid-1990s, the reliance of Chinese contemporary art on its own cultural and geographic space shifted from helpless to self-aware. This self-awareness creates a decisive link between contemporary art and reality, but also suggests a certain distance from it. It is this distance that is allowing Chinese contemporary art to make its mark on the art scene, and Ji Dachun is an important actor.

The extraordinary fineness of Ji's drawing overseas the spirit and thought of reality and maintains a continuation of the self. Ji renounces color, or uses very little of it in his work, in a conscious attempt to avoid a coarse and ambiguous feeling of "largeness."At the same time, he uses what appear to be unconventional techniques to forget a new type of feeling, one that is both clear and well-defined. It's these pencil sketches that give Ji Dachun's paintings their characteristic flavor. He usually works on canvas, but finishes his paintings using pencil, ink and tea water. The pencil drawings in particular, rather than merely describing the subject of his painting, seem more to be expressions of the artist's subtle and delicate emotion. He works with a light touch, the lines appearing to break off and rejoin repeatedly, expressing the subject not in a clear and direct way, but just making it barely visible.

In a series of meanings confusion, the summit covers, the vivid replacement, and diverts in the process, he actually not merely just for getting one kind of joke pleasant. In his painting, he established significance, deconstructed the image bidirectional puzzle, and enabled the onlooker to enter in his work through "concept" easily, but only could look at his picture with a peace state of mind, appreciated "drawing" pure.