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linguists have distinguished chinese, a non-inflective language, as a topic-comment language from the topic-prominent languages, like japanese , as well as from the subject-prominent languages, like english. painting like this shares all the traits demonstrated by the recent internet technology, especially the internationally well received microsoft windows programs. the paralleled imageries either in antithesis or in symmetry always acquire internal complexities in proportion to their external opacity or lucidity.{/INSERTKEYS}{/PARAGRAPH} some vigorously utilized the best of past to probe into the core of the modern sensibility without recording superficially the concrete external reality, while some explored their childhood experiences with romantic orientations echoing the widespread and influential movements of new literature. the chinese contemporary postmodern condition faced by the postwar painters is unique and complicated without precedent. it has reached the third phase of its aesthetics adjustment and the eruption of style after the first opium war to the present day. in the same time, a cultural semiotics of chinese graphic linguistic approach serves as a major guide line for me to explore the new possibilities and novel frontiers of our time. some of them ventured to unite artistically chinese tradition and that of the west with a japanese touch. based on the traditional chinese painting language codified, expanded and enriched after the first appearance of the mustard seed painting manual of the late 17th century, new graphic lexical patterns of the 20th century are created to join the old in order to facilitate grammatical contrasts and dramatic ambiguities through the calligraphic brush works thickening up and thinning out to form successive rhythmic tension. within a span of year, wading through frustrated struggle and acute transformation, the world of ink-color landscape painting evolved from an agrarian idyllic world into a harsh industrial one, and the two world wars burst in the 20th century marked a watershed. the emergence of a society of affluence with the vogue of national tourism witnessed the discovering, visiting, portraying and publishing famous landscapes or spectacular sceneries in and around china proper that have become fashionable endeavors for artists, publishers as well as intellectuals. in the same time, they also have to face the international problems like ecological restoration, global warming and even the impending problem of population aging. there were also drastic ones who almost gave up chinese art tradition thoroughly by adopting western oil painting tradition or following modernist trends of all kinds with chinese or japanese touches to achieve market success in the west as well as in the east. {PARAGRAPH}{INSERTKEYS}between the fall of the five dynasties and the rise of the northern sung dynasty, during the 10th century, the fully fledged chinese ink-color painting has undergone the first phase of the aesthetic evolution and the explosion of style that witnessed the flourishing of monochrome ink landscapes by the eminent masters whose monumental works marked the most significant milestones not only in the art history of china but of the world. in the first place, chinese cultural-political situation has been divided into two laboratories after world war ii. the one in mainland china is of a continental tyrannical communism orientation, while the other is of freedom and democratic orientation taking place outside of the china proper, chiefly in taiwan, hong kong, singapore and some major cosmopolitan cities around the world.