Having joined "Gengzi Art Club" to have acquaintance with traditional Chinese painting, Ng Po Wan started practicing Chinese art since 1961 to understand and equip himself with the skills of brushworks in classical painting and attempted to employ Chinese brushworks in oil paintings. Since 1962, Ng has painted with short and concise brushstrokes in oil painting and outlined the contour of objects in black. The work View of Shatin (Lot 1146) was created in 1970. Painted in aerial perspective, the painting captures a wide view of landscape. Leafy trees and passersby on the steps next to a peaceful village, Shatin countryside bursts with vitality. Apart from delighted brushstrokes and bright hues, the artist applies complementary colours such as green, orange and yellow to present the change of light. Black lines in different darkness emphasize the depth of space.

Yee Bon is another artist who made many attempts and experimented with Chinese ink on Chinese rice paper with Chinese writing brush when creating oil painting. To Yee Bon, the reason of doing this is not to become a Chinese art painter but to transfer the techniques in traditional Chinese ink painting to oil painting in order to establish the nation's own artistic characters. The composition of Yee Bon's Landscape (Lot 1158) is close to the multi-point perspective in traditional Chinese painting, unrolling from pathways in the mountain through the woods, crossing miles of mountains far away and going beyond the clouds. Yee Bon successfully incorporated the composition technique in Chinese ink painting into oil painting to depict a wide angle of view on canvas and to capture the nature without boundary. It demonstrates the artist's open mind and aspirations. Yee Bon uses different tones of green colour to delineate the complicated rays of light and the change of colour in nature. Via delighted and sharp brushstrokes, the green colours complement each other and render the brilliant scenery.