The development of Chinese contemporary art up till now has not only borne fruits that are intrinsic to the diversity of art, but also produced obvious problems, namely the loss of the artist’s spiritual experience. The essence of Chinese traditional art as well as classical Western art is characterised by being faithful to the artist’s own spiritual ideals. In order to create a ‘Northern’ landscape, Fan Kuan sought refuge in the mountains for years. The fountainhead of Zhu Da’s art was his own melancholy and pathos. Rembrandt’s self-portraits express profound examinations of his own inner spirituality, while Cezanne’s depictions of landscape, stills and people are all rooted in his pursuit of grandeur and volume. The whole point of me rambling on about the old masters is that I want to suggest my eagle paintings also reflect my aspirations to root my works in a profoundly spiritual quest and attempts to combine my art language with thinking in order to express the true colours of Chinese spirituality in the age of rapid material development: frustration and resilience, solitude and will. My eagle series can be seen as an expression of my attitude on contemporary art, which has accompanied my spiritual journey of the last two decades.