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本画构函精美，前后层次分明，笔力秀劲，细笔丝毛，染法精微，完全采用正面的光照，又减弱光线的强度，避免出现侧面光照形成的强烈明暗对比，使五官清晰，以符合东方民族的欣赏习惯，其画面写实，富有体感和质感，工而不掬，细而不碎，干净漂亮，雅俗共赏，形象生动、富于质感，一改中国传统技法中勾勒重线的特征，而采用重色轻线的渲染法有着直接的关系，真实生动，多色彩艳丽，笔触细致，整幅作品谋篇布局严谨，浑然天成，流畅劲健的墨线，一丝不苟的多层渲染，加之无法效仿的色彩运用，中西合壁，焕然一新，主次协调，层次丰富，质感强，既有水彩画的变化韵味，又有西洋画的浑厚质感。This painting is exquisitely constructed, with clear layers before and after, strong brushstrokes, fine threads and hair, and delicate dyeing techniques. It uses full frontal lighting while reducing the intensity of the light to avoid strong contrast between light and dark caused by side lighting, making the facial features clear and in line with the appreciation habits of the Eastern ethnic group. The picture is realistic, rich in body feeling and texture, delicate but not broken, clean and beautiful, appreciated by both the refined and the popular, vivid and rich in texture. It deviates from the traditional Chinese technique of outlining heavy lines, and adopts a rendering method of heavy colors and light lines, which is directly related to it. It is real and vivid, with multiple bright colors and delicate brushstrokes. The layout of the entire work is rigorous, natural, smooth and vigorous. Ink lines, meticulous multi-layered rendering, coupled with unparalleled use of colors, blend Chinese and Western elements, giving it a fresh and fresh look, with coordinated primary and secondary elements and rich layers, Strong texture, with both the changing charm of watercolor painting and the rich texture of Western painting.