In 1981, Yung Shing Cho became a student of second-generation Lingnan Master Yang Shanshen. The Lingnan School advocates a revolutionary and innovative approach towards Chinese painting, where Western impressionistic painting methods are integrated into the Chinese traditional Gongbi painting style.

Traditional Gongbi paintings are often line-oriented and highly coloured. While the method carefully depicts figures and subjects in details, it somehow delimits the creative boundaries of an artist. Western impressionism on the other hand focus on spontaneous expressions, where colours and light performance matters more than lines and precision. The fusion of the Chinese and Western painting styles gave birth to the unique and unconventional world of Lingnan school.

Yung's artworks for this exhibition classically exemplify the typical Lingnan painting style. Equipped with proficient painting skills, he is one of the representatives among the third generation Lingnan School. Yung enjoys sketching nature and sceneries. He pays extra attention to the accuracy and demeanour while depicting his subjects, which are usually birds, flowers, insects and plants. The harmonious balance between form and spirit and the remarkable use of colours make works stand out from others.

容绳祖于1981年成为香港岭南派第二代大师杨善深的入室弟子。 岭南画派提倡水墨技法的改革与创新， 主张以中国传统的水墨工笔技法， 融合西方写意的绘画方式。

传统工笔采用先勾勒物体外形再施予重彩， 如此虽然可清晰表达物象， 却显得生硬呆板， 并且捆绕画家的思想边界。 而西方写意技法， 则注重物体的自然神态表现， 摒弃外在轮廓僵硬的局限， 注重写生， 用色亦趋附自然光彩。 中西两种技法融合， 就形成岭南派独树一格并颠覆传统的绘画风格。

此次容绳祖的展览作品就老实的传承了这一画派的经典风范。 他是中国香港第三代岭南画派代表之一， 绘画技法纯熟， 喜爱山野写生， 对花鸟虫树草木物象的要求也极重于物形的真实与神态意象的表现。 形神兼备， 是他的作品所达至的一个境界。 不流俗的色彩， 使观赏者不觉厌腻。 古意映然， 韵味回荡， 让人倍感珍叹！