This work could be compared with brushwork used by Xu Wei and Zhang Daqian's splashed ink. Zhang stayed in 1978 and was close to Chiang Chao-Shen during his job at the National Palace Museum. To draw lotus, Zhang used wet brush and dense ink. He once mentioned that ink lotus could be made with two brushstrokes: one downwards to bottom, one upwards from the bottom. This shows his superb control of the brush. The tone of this painting in full frame, varied from top to bottom. Slanted brush was used for weeds, creating varieties in their forms. Lotus stems were drawn in one stroke. This movement could be credited to Chiang's practice in calligraphy. Huge lotus leaves are light, depicted with different shades of ink. Veins were drawn with quick strokes. The various forms of flowers were sketched from dried brush, matched by bold brushwork and extraordinary skills. Movement of the lotus was depicted. Such majestic lotus paintings are unique to the artist's character and skills. Lotus stands for abstinence from distraction, and this painting directly suggests the ascetic life of the artist.