Pang Jiun was born into an artistic family in which he received systematic and complete training in painting. Throughout a creative career spanning more than 70 years, he has incorporated the techniques of both Western and Chinese tradition in his oil painting, forming his own unique artistic language and style. Pang's paintings draw on the Chinese aesthetic to represent landscapes, representing spirit through appearance and harmonising objects and ego. He also draws on a maxim of Chinese ink painting - 'minimum modification, coherence and emotional expression'.
Pang uses the three stages of composition of Chinese ink paintings, 'near, middle and far', in depicting the river town in Timeless Landscape (Lot 159). He sets the scene two-dimensionally, and it spreads from the mid-point to the edge of the canvas. A black-and-white wall is broken by trees, and a patchwork of fields creates a rhythm that draws the viewer's eye towards the faintly discernible mountains and clouds in the distance.
Pang's work displays the intensity of Western painting while integrating the realistic style and artistic conception of Oriental philosophy. Its title is taken from the Song Dynasty poem 'Huai Xue Pavilion with Officer Yao Xi-Sheng' by Dai Fufang. Through its appropriation of concepts of colour and spatial composition from traditional Chinese painting, the work resonates with the ancient metaphor, 'I rub my old eyes and look again, all that remains are the green mountains that withstand time.'