This article aims at elaborating how Lin systematically reformed Chinese ink paintings through his figurative works from the 1930s to the 1960s. Lin's greatest contribution to modern art is identifying the common qualities of Western and Chinese traditional art theories. He did not miss out on any, and made a very forward-looking remark, 'As a matter of fact, the shortcomings of Western art are exactly where the strength of Eastern art lies, and vice versa. Complementing each other will make the world's new art.' (The Prospect of Chinese and Western Art, 1926). He applied two approaches, on the one hand, he revived the Chinese traditions; on the other hand, he introduced new thinking from the Western art.

Jeune Femme (Portrait of a Young Lady) (Lot 261), Chinese Opera Character (Lot 262), and Opera Lady (Lot 263) are early works made upon Lin's return to China. One can see from the light touch in ink and colour that the artist purposefully studied lines as a basic element in paintings. In Jeune Femme (Portrait of a Young Lady), Lin outlined the contour of the lady's face and clothing with light coloured ink. He then splashed colour on ink to depict the lady's dress, skin and hair respectively in light green, beige, and khaki. Lastly, Lin adorned the borders of the collar, sleeves, and curly hair with heave ink strokes. Such varying, interwoven lines in light and dark colour create a strong sense of layers and the volume of the female figure. Lin deliberately reduced the use of colours and their brightness in order to express in its maximum capacity the power of lines. Glass windows, flowers, and sofa are all depicted in lines, showing an impeccable mastery of the artist's use of lines to construct a space.
In Chinese Opera Character and Opera Lady, one can see how Lin rendered figures in motion. Characters in traditional Chinese opera had always been the key subject matters in Lin's works. Not just a personal interest, Lin noticed that Chinese opera embraced the unique wisdom and aesthetics in Chinese visual art. In Opera Lady, Lin used light coloured lines to depict the diaphanous tulle moving elegantly with the lady's arms. Sweeping strokes brought the lady's fan upward as if it was dancing too. Thick, light, dry and staggered lines delineate an extremely sensual image of the opera lady. In Chinese Opera Character, hua mian, the special facial make up used in Peking opera, is incorporated in the work. Hua mian uses different make colours and patterns to designate the distinct personalities of the four roles in Peking opera: sheng, dan, chou, jing, meaning male, female, clown, and the forceful. This type of folk art is highly symbolic and rich in meaning. In Chinese Opera Character, red suggests bravery and loyalty. The simple lines fully portray a solid horse stance and the javelin waving movement of a hero. The right side of the tableau displays the bold and curvy lines, further highlighting the motion simply expressed through lines.