Minimalist New Chinese aesthetic style, the image uses a pale gray-white background and presents a paper-art silhouette-like sense of three-dimensionality.
An S-shaped, winding, crack-like edge divides the image, as if tearing open a layer of paper to reveal a colorful Eastern landscape of mountains and rivers within.
Inside the tear, a winding river runs from top to bottom through the entire composition, the river rendered in varying shades of blue...
Minimalist neo-Chinese aesthetic: the image uses a subtle gray-white background, presenting a three-dimensional, paper-cut silhouette effect.
An S-shaped, winding, crack-like edge divides the image, as if tearing open a layer of paper to reveal a colorful Oriental landscape within.
Inside the opening, a meandering river runs from top to bottom through the composition; the water is rendered in varying shades of blue with clear layering, like a flowing ribbon.
Both riverbanks are dotted with verdant hills and terraced fields; the colors are soft, greens and reds interwoven, showcasing the tranquil beauty of the countryside.
Traditional-style buildings line the river in an artfully staggered arrangement, with upturned eaves and corners, white walls and dark tiles, appearing even more rustic and elegant in the interplay of light and shadow.
Trees grow lush along the banks, their branches and leaves light and airy; a small boat rests in the center of the water, adding a touch of leisurely mood.
The overall composition forms an S-curve, rich in rhythm, as if nature and culture coexist harmoniously.
The edges of the artwork use a torn-paper effect, creating an embossed, bas-relief-like visual experience.
The inscription below, “Oriental Aesthetics,” is written in black kaishu (regular script); the date “2026/04/18” echoes the red seal; the bottom “CHINA” lettering is solemn and prominent; the signature “@LIYUE” provides a low-key finish; the overall atmosphere is tranquil, profound, and filled with poetry and philosophical reflection.
