His approach to painting relied on the study of historical styles rather than the observation of nature. He categorised Chinese art into Northern and Southern schools to promote the literati tradition. Works like "Autumn Mountains" or his "Landscape with Trees in the Manner of Ni Zan" demonstrate this method. He used ink on Korean paper or silk to create compositions that prioritised brushwork over realistic detail. His cursive script and calligraphy often shared the same space as his paintings. This created a unified aesthetic where text and image carried equal weight.

Modern collectors value his work for its intellectual depth and minimalist qualities. His focus on form and brushwork aligns with contemporary interests in abstraction. Pieces such as "Poem in Cursive Script" offer a visual rhythm that feels current. His art provides a connection to the scholarly ideals of the Ming era. These prints suit a home gallery that appreciates historical context and technical precision.