The defination of "Zhang Hui" in Baidu Baike is: Zhang, Hui, a paragraph form of Chinese novels. Examples include: "A Brief History of Chinese Fiction, article 13:' The Tale of the Procurement of Scriptures by the Tripitaka Master of the Great Tang' ... which is divided into seventeen chapters. This is the beginning of the chapters of the novels we have seen so far. "

From the above, it can be seen that Zhang Hui is the traditional way of structural elaboration in traditional novel. We use this to name Li Mingchang’s solo exhibition, aiming at establishing the intertextuality and translation between style construction and painting practice in literature and art. We can tell the the narrative character from "Vietnamese Fisherman" that was selected by Li Mingchang as the exhibition poster in ‘Zhang Hui’. This oil painting on canvas, created in 2022, is a silhouette of a fish with a wine flag on the lower left and a fisherman with a pointed hat on the right, which can help people quickly identify the regional characteristics of the painting. While other features in the painting are difficult to distinguish clearly, and this ambiguity between narrative signs and abstract expressions constitutes the major feature of Li Mingchang's art.

Anyone acquainted with Li Mingchang knows that each of his paintings has a source of proposition. Specifically, there is a layer of inspirational interaction between the motif of each painting and the historical events we have experienced. This can be confirmed by the artist through his personal profile. He said that he was "engaged in the painting and the work related, including visual and text exploration of modern micro-history." This is understand the society concern behind his works.

From the painting "Vietnamese Fisherman", we can partially analyze his methodology, as well as his dialectical thinking and emotional devotion to the entangled identity politics and subtlety of human nature in modern history. During this period in history, Vietnam experienced colonization, color revolution and the cruelty of great powers colliding. And its vitality in political transformation in recent years must have aroused the interest and even pain of Li Mingchang, who is from Guangxi, a region bordering Vietnam, and he has always focused on the civilization evolution.

Li Mingchang translated this kind of interest and pain into a poetic picture of landscape and swan similar to the style of Song dynasty. He skillfully combines the complex viewpoints of traditional painting with a panoramic composition layout at the same time. In addition to the specific identity of Vietnamese fishermen (a normal topic in Hong Kong's international news, but also one of the sources of Hong Kong's immigration), the painting does not stop at the retelling of appearances and simple emotional substitution, while it becomes an artistic language with both aesthetic synaesthesia awakening and empathy stimulation after transformation and sublimation. At this point, the inner energy and "wrinkle" of the work (from Deleuze's space aesthetics theory) need not be said.