"The works of Chuang Che own a rich texture, a reticent hue, and a sensitive but strong touch, just like a sketch by the oil paint and combined materials full of energy and the rhythm of life.

In the whole, the picture fills itself with a vigorous atmosphere just like a vast world. The lines and colours, as the bone structure of the painting, with a vibrant power give a strong persistence to break the chaos and shatter the space. I will say that his paintings, just like himself, are in a place between the chaos and full comprehension."

- Fan Dian, Director of the National Art Museum of China

The Chinese Abstract painting master Chuang Che, who just has his solo-exhibition in the National Art Museum of China in August 2007, has been living in New York for more than 30 years since his departure for the States in 1973. With a close study on the Western culture and learning the techniques of the Modern art, he also brings the Eastern art into a modern expression and thus forms his expressive abstract painting style. Chuang is skilled in bringing his spectators into a new world full of the balance of Ying Yang. His strokes and colours bring the spectators into a simple, natural and harmonious world, and make their thought follow his lines, texture, and touches and find the innocent light shining in the world. His bright colours and the emotion from his heart are so poetic and make people free, comfortable, peaceful, joyful, and overwhelming, and he thus leads them into the realm of sublime, a colourful world created by himself.

Jeffrey Wechsler, an American scholar of the contemporary art, once said, "We find the balance in his transition of the technique and the visual tradition of the Chinese calligraphy. In a quick linear pattern and the touch lingering between the classic and the wild sensation, we witness the characteristic of natural extension of the Chinese calligraphy. It is true that some of Chuang's early works in the 60s emphas i zed thei r abstract characteristics with hieroglyphic characters and thus built up a bridge between the traditional Eastern calligraphy and the Western simple aimless signs."

The "Dragon Realm" is one of Chuang's best in the 90s. In the Chinese culture, dragon is not only the representation of the Chinese, but also the symbol of the royal power, auspiciousness, and prosperity. "Qian" of Yi Jing describes, "The c louds mov e and the rain i s distributed; the various things appear in their developed forms. (The sages) grandly understand (the connection between) the end and the beginning, and how (the indications of) the six lines (in the hexagram) are accomplished, (each) in its season. (Accordingly) they mount (the carriage) drawn by those six dragons at the proper times, and drive through the sky." The passage uses the dragons as a metaphor indicating the truth that everything in this universe is always changing. In this work, Chuang fuses the traditional Chinese divine element and images into the thought of the modern art with the expression of this painting. The painting presents a natural realm of the changing relation between man and the universe as well as the natural philosophy of the Heaven and the Earth that Chuang has always been pursuing.

On the presentation of the painting, Chuang uses the blue gray as the basic tone for the background, and with the changing of colour and strokes he creates a wide limitless spiritual world which is mysterious, shaking and astonishing. In this realm of dragon, the strokes are strong and soft, wild and reserved. Its power breaks the chaos and shatters the space; it brings rhythm to the whole picture, lives and energy to a static space. The black and white calligraphic lines are like the shapes of dragons flying between mountains. Such an overwhelming feeling is completely presented to the beholders, and such an overwhelming picture is truly the best of Chuang.