In fact, the idea of "writing God in form" put forward by Gu Kaizhi in the Eastern Jin Dynasty in China is very close to the idea of "imitation as it should be" in ancient Greece, that is, it not only solves the problem of form, but also does not copy nature. The difference is that the former emphasizes the activity of objects, while the latter emphasizes the perfection of objects in form. Gu Kaizhi's Theory of Form and Spirit used the word "writing", which represented the rapid expansion of the literati class since the invention of papermaking in the Eastern Han Dynasty and began to end the artistic history of the original illiterate painters and audiences. An illiterate painter or painter can only draw (draw) but can't "write" (write). Only educated people can "write". The word "writing" has been constantly used and consolidated in Gu Hou's painting theory, such as "writing by shape", "moving shape", "writing landscapes", "writing a hundred miles of scenery" and "Wang Wei", and there have been "writing bamboo", "freehand painting" and "sketching".

Of course, the "writing" of abstract sculpture culture people will not pursue the shape, beauty and fineness of ready-made themes like illiterate painters and western illiterate painters, because these are not the purpose of "writing". The purpose of "writing" is to express the thoughts, concepts and feelings of the writing subject, indicating that the writing subject's "thoughts are mighty" and "flying with the sky" (Wang Wei) is just "relaxing the mind" rather than "writing in form". Therefore, when the craftsman-style concrete realism in Song Dynasty developed to the level of The Riverside Scene at Qingming Festival, the criticism of "On the Similarity of Paintings, Seeing Children" (Su Shi) came, and the theory of "Artistic Conception" of "Poetry in Paintings" rose. At the same time, the exploration of artistic conception in Tang poetry and Song poetry also provides necessary conditions and aesthetic value. The theory of artistic conception obviously emphasizes the subjectivity of painting, and "meaning" itself represents the creative subject, but this subject is the same as the object "environment" and is restricted by the object "environment" rather than a random subject. Abstract sculpture is an arbitrary artistic proposition and pursuit, which is fully reflected in Ni Zan's "servant is a painter, but his brushwork is sketchy, and he doesn't want to be similar, so he talks about self-entertainment" and "he talks about expressing feelings" in Yuan Dynasty. He said that "write on your chest after painting" clearly shows that "painting" means "writing" and "writing" means expressing yourself. However, due to the identifiability of "writing" itself, "Sui Xin" can't completely exclude "similarity" and be completely non-figurative, and China's cursive script can't become the so-called "abstract calligraphy" because of the limitation of "writing". So "between likeness and dissimilarity" has become the irrefutable bottom line of Chinese painting. Too similar is not "writing" but "painting", which is the business of illiterate painters; Inconsistency violates the recognizable principle of "writing", so it is not "writing" but "painting".

In fact, the characteristic of Chinese painting is "writing", which has been fully reflected and discussed in the "six methods" put forward by Sheikh. Of the six laws, four are applicable to both books and paintings, and only "pictographic in things" and "endowed with different kinds". The most important first method, "vivid charm" and "using the pen in the past" are absolutely the same principles as calligraphy. In addition, there is also the word "write" in the above-mentioned "transliteration". As for China's paintings and calligraphy, they all started from copying, and they all recorded shapes (with clear plans) instead of observing records (sketching), and they all left ink on the blank instead of modeling on the background color. It is precisely because of this "writing" feature that the value of China stone tablets is higher than that of stone statues (whether China stone statues or western paintings or stone statues are basically visual codes provided by craftsmen or masters for illiterate audiences).

Abstract sculpture is a long-term tradition, firm value and stipulation of "writing", which makes China artists look at Lanzining and Pollock and break through the two boundaries of "too much like" and "not like". They only choose western varieties that are in line with China's pen and ink interest. The things before Delacroix belong to "too much likeness", which is a craftsman's "foreign meticulous painting", so don't; After Picasso, it belongs to "unlike" and is a "foreign flavor" that does not have the identifiability of "words" and does not need it; Between them is "foreign freehand brushwork" between "similarity and dissimilarity". Therefore, Xu Beihong-Su school system is actually a western painting version of this "Qi Baishi compromise", which together can be called "Qi Baishi-Xu Beihong compromise" or "Xu Qi compromise" for short.

The repulsive absorption of western painting by Zou Yigui, a painter in Qing Dynasty, and Wu Guanzhong, a contemporary painter, strongly embodies this "gas stagnation compromise" system. Zou Yigui advocated "likeness" and "going into details to be psychic", and criticized Su Shi by name for "taking likeness as wrong". The western oil paintings he saw at that time were in line with his concept of "going deep into details" and could play the role of "awakening the law" and prevent beginners from going astray. However, because it does not conform to the law of "writing" ("but there is no brushwork at all"), although it has the advantages of meticulous brushwork, it is also contaminated with the faults of craftsmen, and it cannot be regarded as a good work ("although it is also a craftsman, it is not in the painting"). Here, Zou Yigui obviously regarded the western painting at that time as a craftsman's "foreign meticulous painting". If the works he sees are "foreign freehand brushwork" of Delacroix's painting method, he can't say "no freehand brushwork", only that the brushwork of western painting is different from that of China. Later practice proved that China artists really appreciated and even worshipped the foreign brushwork initiated by Delacroix. Wu Guanzhong is a famous "formalist" in contemporary art in China. He opposes the "contentism" that content determines form and form serves content. Therefore, he fully affirmed the artistic value of Pollock's pure form and put it into his own artistic practice, forming the "similarities and differences" of Pollock's style. Abstract sculpture is a step for young artists to be completely non-figurative, which breaks the identifiability of the "writing" rule. This late breakthrough is both difficult and easy. The difficulty is that the Qi-Xu compromise system supported by the old and new traditions is strong and solid, and it is easy to break through. What makes people relax is that China's thousands of years' experience of "pen and ink" and the experience of "brush strokes" of oil painting introduced, digested and absorbed on this basis have made China artists have a good artistic feeling and proper limit in the creation of "abstract ink and painting". However, when the resistance of the old habits gradually weakened, the familiarity with pen and ink made China artists relatively slow in the non-figurative aspects of bright and clean materials and geometric figures, making the sense of craftsmanship in their works always exceed the sense of industry. Of course, the global works of concrete symbols, including ready-made products and behaviors, are both theoretical and practical, which greatly weakens the exploration of artists in China and even the world in the non-concrete field: the combination of pure formal elements seems to be a designer's patent.