In his Chinese Portrait Series L, Feng Zhengjie, gives an impression of having painted these works smoothly, creating an anti-painting element. The use of vibrant colors and simple images reminds one of the subtle transitions between pop culture and fine art, as seen in the school of Pop Art. Aside from his capitalist critique, Feng's art has also been strongly affected by art trends advocated during the era of Mao Zedong. In 1943, starting with the "Speech at the Art and Literature Seminar in Yan-an," peasant art became the criteria for academic study. Common, slick, pretty, and festive styles replaced the elite tastes of traditional scholars and literati, giving rise to woodblock prints and New Year pictures, which were received by the general public with great enthusiasm to become a collective visual memory among the people. Meditation (Lot 2471), an earlier work of Feng Zhengjie reveals an aesthetic related to the peasant revolution. Peony blossoms and carps in the large red floral print signify the wealth, social position, and good fortune desired by most people, which correspond with the pleasures common people derive from in New Year pictures. Nevertheless, the naked woman sitting in front of the print, musing with her lowered head was painted by using the realistic technique of the Western academic school. This arrangement is the polar opposite of the exaggerated ecstasy of peasant art. The logical details, light and shade, and three-dimensional quality of the naked woman convey reason and objectivity, a visual symbol of resistance to a garish and vulgar world.