This essay, a companion to the preceding article, interprets the abstract painting of Lin Xueming as a synthesis of Chinese and Western traditions. The author first recalls that Western abstraction arose partly as a reaction against the anthropocentric, sight-centred painting established by Alberti’s perspective, a path that ended in the self-destruction of form in the early twentieth century and, at worst, in decorative commodities serving consumer capitalism. Chinese painting, by contrast, never reduced reality to the visible, as Su Dongpo’s dictum on form likeness shows; calligraphic brushwork gave it a degree of abstraction that allowed continuous evolution without rupture. Lin Xueming, raised in China but familiar with Western thought, is presented as realising the Lingnan School’s ideal of “uniting Chinese and Western, fusing ancient and modern”. He brings ink and acrylic into a yin–yang dialogue, uses a multiform brush that embodies Shitao’s concept of variation (bianhua), and turns the flat ground of Western abstraction into the depth of Chinese empty space, where qi can flow. Citing Mark Tobey and Huang Binhong, the author concludes that his work offers a universal contemporary painting rooted in both traditions.