His technique shifted from the detailed realism of Sericulture (The Process of Making Silk) to a style called "abbreviated brushwork." This approach uses very few strokes to define a form. In Waterfowl and Reeds and Poet strolling by a marshy bank, he relies on the bleed of ink on paper to suggest depth. He focused on the spirit of the subject. His work often features large areas of empty space, a concept known as "leaving white" in Chinese painting.

These pieces appeal to collectors who appreciate Zen aesthetics and minimalism. The brushwork is bold and direct. It does not clutter a room with unnecessary detail. The monochrome palette of his ink washes provides a neutral element for interior design. His art captures a specific moment of observation that remains clear and effective centuries later.