The first painting of mine showcases traditional fan-painting in Chinese art. This piece of work primarily features several clusters of peach blossoms and a bird about to peck the flowers. I deliberately employed the principle of asymmetrical balance: the bird occupies the left-center portion of the circle, while the flowering branches extend diagonally across the surface, creating an imbalance from lower left to upper right. This diagonal arrangement prevents the round format from feeling static. At the same time, the space provides visual breathing room—an application of the Chinese aesthetic concept of "leaving blank" (liubai). Just like other conventional paintings, fan paintings involve various alterations in terms of the texture of the fan. For this painting, I chose the silk fan and applied the “fen ran” technique to create a gradually diminishing peony shade on the petals of the peach blossoms, starting from the center towards the peripheral area. The center was marked with small red dots that added visual accent points.

This painting demonstrates the meticulous Mogu style, characterized by precise brushwork and careful attention to detail. The bird's plumage exhibits subtle gradations from the dark olive-green back to the pale yellow breast, with brushstrokes outlining individual feathers.

As for the overall mood, the soft yellow background creates a warm atmosphere that complements the gentle pink blossoms and the bird's yellow breast, cultivating a classical, contemplative mood. The dark decorative border, featuring geometric patterns, provides a formal frame.

Positioned on an ornate black stand with carved details, this piece represents the tradition of displaying fans as decorative art objects rather than functional items. The stand's design primarily suggests that it was intended as a decorative piece for interior use, reflecting the Chinese tradition of incorporating nature-inspired imagery into ordinary spaces.