Pang Jiun, who is cultivated in the humanities and has astonishing creativity, has never stopped creating and making breakthroughs. His artistic style is appreciated as the "unique expression of the oriental humanity", a style that is highly individualistic.
Shao Da-Jen, famous Chinese art historian, commented, "Pang Jiun's creations growing on the field of China contain not only the unique characteristics of its own but also the elegance of folk paintings. Its taste and interest does not only remind the audiences of ink painting but also of the mural painting in Dun-Huang and other cultures' finest works. This is Chinese ideal oil-painting, absorbing the feelings and the appreciation of the beautiful."

After studied the evolution of modern western oil paintings and the approach of Chinese literati ink paintings, Pang Jiun put what he learned into practice and asserted that enhancing expressiveness is the important means to innovate modern Chinese oil paintings. Pang received intensive training on realism, yet he succeeded to strike a balance between imitating reality in traditional realistic art and expressing freely in modern art. And he creates the spirit of "lyrical expression" and "rhythmic vitality" in oil paintings. Pang once said, "I do not paint particular things, I paint what is inside my heart and my feeling towards ordinary subjects. It is not determined by form, but my feelings and emotions." Pang's creation is led by his heart. Different from the misty Jiangnan landscape that Pang painted, his recent work Springtime in Taihu (Lot 1407) paints the flourishing wood along Taihu. He employed blunt, bent, slender and thin lines to portrait tree branches of various shapes. The tranquil scene of the lake in the far distance contrasts with the pink blossoms on the trees in the foreground. The pavilion and the gallery are perpendicular to the growing trees; it gives a balanced weight to the canvas. Pang carefully used black, white and grey colours and turned them into vivid hues in Springtime in Taihu. The pink spots on the trees uncover the exuberant breath of spring.

Pang Jiun further explored the relations between subject, space and colour in Flowers (Lot 1406) and Spring Comes to My Home (Lot 1408). To emphasize the blossoms in Flowers, Pang used pink and light blue as the background colours and depicted the wood grain on the desk surface which sectors the canvas and creates a warm and natural atmosphere. The transparent vase and the brown ceramic flower pot create a contrast of light and dark. Delicate and strong brushstrokes together with layers of mixed paints produce a rich and brilliant palette, and the colours change with different viewing angles. In Springtime Comes to My Home, Pang represented space with big blocks of colours. Three kinds of flowers are arranged together eminently without a sense of disorder. Freehand shattered brushstrokes were employed to render the beautiful posture of flowers stretching out and curving down which shows vitality and facility. Possessing the taste of Chinese literati on appreciation of beauty, Pang Jiun transformed the basic elements of painting - point, line and surface - to a poetic and lyrical feeling.