Hong Ling’s paintings utilize oil-stacking to construct landscapes. The vivid artistic conception of mountains and rivers embody the spirit of Western abstract expression, while also harboring the connotation of “Creation from the dialectical unity of naturalism and internal comprehension”. Hong uses his unique Eastern language to construct his own independent spiritual painting space with the help of Western media. He values the characteristics of oil painting materials as a medium, and uses the Chinese perception towards nature to express his own landscape oil paintings. Amidst resemblance and non-resemblance, Hong expresses his individual life experiences. His landscape paintings have always had the remnants of natural objects, and being invariably rich in color, the subtle chromatic aberrations bring out a natural aesthetic much like breathing. Sometimes they feature broad ambiguous ambience, utilizing dripping "defects" to produce the general atmosphere. At the same time, the Western perspective is not limited to the lights and shadows that change with time, abandoning the visual expression of the landscape to enter a contextual subjective construction.

In “Autumn Pond” he draws on the traditional painting styles and technical methods, integrating them with Western oil painting art to create artworks with the aesthetics of Chinese painting. They serve as attempts to launch the inception of Eastern cultural spirit, and regenerate and gradually establish its own landscape language system. He is one of the few artists in the Chinese art scene who can represent the spirit of Chinese landscape culture.