Irene Chou studied with master Chinese painter Zhao Shaodong from the Lingnan School and Lu Shoukun who was the leading figure in contemporary ink painting. Zhou's works could be classified into four periods: The first period was appropriation in the 1950s; the second period was the development period from the 1960s to the mid-70s; the third period was self-expression from the mid-70s to the 80s; and the fourth was the re-development stage in the 1990s. In the mid-70s, following the death of her husband and her teacher Lu Shoukun t Zhou started to work heavily in ink painting again, aiming for finding completeness and solemnity to cope with her melancholia and loss of her loved one. She adopted a blotting approach and rendered layers of colours onto both sides of rice paper which resulted in thick black blots. As most of her tableaus were occupied by black, her works during this period were known as the "Black Paintings." Heartbeat (Lot 257) is a masterpiece among her "Black Paintings". From the light application of colours, the painting is thought to be a later creation among the" Black Paintings-," and reflects the psychological changes experienced by the artist such as her depression Heartbeat , with epoch-making momentum, Chou uses her brush vigorously and presents an energetic while fluid scene with heavy ink. The subtle power breaks-out in an upward direction, producing an opaque long line where it meets with curved patterns of cloud and lightning meandering in the surroundings. The fine lines outline the balls intertwined with roots or nerves. The contrast in brightness and emphasis creates a mysterious visual effect, and the red blots and thin layers of blue resemble the vitality of the birth of the universe.

The unique historical background and open cultural setting of Hong Kong provided a friendly environment for the arts industry to openly discuss sensitive and delicate issues. Hau Kwei Wong moved to Hong Kong from Shanghai in 1978. Since the 1990s, Wong had been actively participating in the arts development in Hong Kong. He received awards from the Hong Kong Biennial Art Exhibition and the National Art Exhibition. In his work Victoria Park in June (Lot 258), he used dots formed by black, white, and yellow to represent citizens who joined the June 4th commemoration at the Victoria Park, with their hands held up high holding lit candles. The long football court of the Park is like the Tiananmen Square, which is constructed along the longitudinal axis of the Imperial Palaces. Wong's work transcends space and time, bringing candlelight to illuminate the entire city.

Nancy Chu received solid Chinese painting training from Zhao Shaoang of the Lingnan School, and mastered her painting skills in Chinese ink painting. In the 1960s, she received formal training in Western arts and studied the Western theories of arts history, composition, shapes, colours, and space presentation. After returning to Hong Kong, she developed her artistic style by focusing on ink painting. Like Wucius Wong and Irene Chou, Chu studied the Western art overseas in the 1950s and 60s and eventually committed to ink painting. Unlike Western and traditional Chinese paintings which stayed at the two extremes, the development of ink painting could be relatively extensive. Artists attempted to discover more possibilities in this area. After finishing her studies in America, Chu studied under the tutelage of Yang Shanshen, and concentrated on splash-ink paintings, analysing the relationships between water, ink, rice paper and colours. She repeatedly experimented with the effects of ink imbruing and penetration performance of rice paper, in order to present the constantly changing phenomena of colours, light, and shadow. In the large-scale painting Ripples (Lot 259), Chu applies splashing, rubbing, imbruing and extending techniques to enrich the penetration performance of rice paper through her addition of new textures. Water has always been a major theme in Chu's works, and the clear water refracts qualities produced the motion of water, constantly changing. This produces a constant shift between substantial and virtual images, with light and shadows intertwined. Chu combines the constantly changing penetration effect of rice paper with the image of the water, resulting in a colourful masterpiece that is rhythmical, with contemporary notes and visual verses.