When Pang Jiun reached eighty years of age during his creative career, he specially curated the museum-specific series "Eighty Traveling Exhibition". Its first stop in Asia will be on June 20 at the Ueno Royal Museum in Tokyo, which is run by the Japanese royal family. Subsequently, Pang will also be gradually launching solo exhibitions in Singapore, Shanghai, Taipei, and other such Asian cities.
Pang is the only Eastern artist who has a close relationship with the three regions of mainland China, Hong Kong, and Taiwan. Pursuing the style of "Eastern Civilization Expressionism" in his art, Pang utilizes Eastern humanistic expressionism to perfectly blend the expressionist elements of Chinese ink painting and Western oil painting, whimsically transposing the shading gray elements. Whether it is the "clustering green hills" near the Lijiang River in Guilin, the "densely rising" mist of Mount Huangshan, the "intense scenery" of the Zhouzhuang twin bridges in Suzhou, or the "bright and vivid" still life flowers, they all serve as a fusion of Chinese and Western artistic thinking.

Starting in the early 1970s up until he moved to Taiwan in 1987, Pang visited many places in southwest China. Among them, Pang is fondly nostalgic of the "idyllic landscape" from Guilin to Yangshuo, where Pang frequently painted. The work Yangshuo Guilin features a horizontal landscape with magnificent mountains that utilize extraordinarily textured gray tones. Pang is particularly proficient at handling the subtle layers of gray tones. With the blurred silver-gray background, the vast Lijiang River landscape is encompassed by hazy poetic significance. A touch of blue-green in the middle adds to the layering of the canvas. Reflected in the water, the towering mountains are connected together to achieve the effect of echoing one another. With blue-green tones as the dividing line, the viewer's eyes are drawn from the quiet cottages to the dark gray outlines of the awning boats. Several small boats are tranquilly moored on the river, leisurely rising and falling in harmony with the tide.

Alternating between a static and dynamic equilibrium, Pang continuously strengthens his "freehand brushwork"! Based on the Chinese lyrical tradition of depicting natural and spiritual aspects, Pang pays tribute to the artistic aesthetics of the historical literati landscape paintings. Indulging in the essence of painting, Pang also harbors a love for poetry and music. With a penchant for Mozart's symphonies, music gradually permeates into the space of this work with deep melodies and rhythmic changes, thereby expressing everyday things in the form of contagious musical rhythm. His pictorial language presents this artistic philosophy and demonstrates a fluent use of Western painting techniques. While retaining the literary characteristics of oil painting, the spirit of traditional literati painting is embodied into the artwork, revealing a poetic and pictorial element of "wash away the glitter, and the years will be peaceful".