Lin further delved into the study of lines and symbolic theatrical arts. From his works produced during his stay in Shanghai (from the 1940s to the 1960s), we could notice his emphasis on the treatment of depth in space, in order to create distinctive portraits which fit right into the modern aesthetics. Such modernity is manifested in his bold attempt to combine lines with a colourful background. Lin abandoned the technique of liu bai, "leaving blank", often seen in traditional Chinese portraits. He not only used coloured lines to create forms, but also employed coloured shapes to divide a pictorial space. In Lady with Flute (Lot 147), Lin painted the curtains in charcoal and the low cabinet in light green. Three horizontal ochre strokes extend the picture plane outward. The crossing vertical and horizontal lines systematically divide the space. In order to raise the pictorial tension, Lin deliberately added gouache to the mineral pigments and ink, giving a powdery texture to the painting. In Lady in Blue Dress (Lot 146), the application of thick pigments is more obvious. Lin applied heavy colours on ink, and vice versa, in order to intensify the mixed colours and increase the volume of the figure. He skilfully alternated varying layers of thick and thin water-based paints, successfully creating a landscape that is vibrant in colour but not stagnant. The great contrast in colours significantly increases the depth in space. The bright yellow in the centre of the painting brings in light, which is radiating from behind the female figure, bringing the focus to the centre. Contrasting colours of bright yellow, ochre, and sapphire blue build up the space, guiding the audience through a kaleidoscopic joy ride. A unique style of his, Lin drew continuous white lines to border the shapes in thick colours. The smooth and looming curves delineate the lady's dress, her body and her elegant posture. With a touch of Lin's masterful strokes, the translucent tulle comes into view.

On character design, especially on treatment of faces, Lin combined traditional Chinese notion of "lines" mastering "shapes" and acquired both "shapes" and "spirit", which is also coherent with the minimalist aesthetics in Western modern art. Bada Shanren from late Ming Dynasty captured the gist of objects through highly symbolic and metaphorical "lines". He expressed the "shape" and "gist" of an image with only lines that were essential. Brancusi, the Western modern sculptor, returned to a minimal concept and created Sleeping Muse with her facial features barely articulated. In Lin's work, he was inspired by the makeup of Chinese opera actresses with an emphasis on the nose contour. Lin appropriated the idea and extended the simple lines of eyebrows to the nose, and painted the eyes in thick ink, portraying a simple yet vivid face. The look of the lady's face is not only Lin's signature style, but also a successful fusion of Chinese and Western art that presents a sophisticated concept in great simplicity.