Remoteness is to demonstrate space levels. From a distance view, The Scene of Open And Clean Ends of The World (2008) embraces the marvelous scene of broad, high and deep space. The painting has five to six gradations, which alternate each other in space like huge waves tumbling from the near to the skyline. It is much more than unfathomable! The Deep Valleys mentioned above, has even more space levels, thus leaving more sense of depth and intangibleness. The depth of space adds to the loneness of landscape, so its delights, spirituality and elegance are all latent in the space. The feature of the series is that the beauty of space is well dealt with.

　　Taihang Mountains have an air of vigor and majesty. The painting the Peak called Immortals Playing Chess (2004) has a pyramid structure with large white space, where mountains look as if they are floating on boundless seas and their peaks almost stick into the sky. In The Cloud - covered Village (2008), extending cliffs in the middle are like forests; the steep and bottomless canyons seem to be chopped by axes; fog spreads all over the sky and the earth, building an air of plentiful vigor and countless changes. This is indeed a grand beauty of nature.

　　Generally, a mountain cannot be both desolated and charming because charm is often associated with "feminine"  or "graceful" . However, as yin and yang in Chinese philosophy are complementary with no exception, there is no lack of charm of life and aftertaste in Mr. Jia's Landscape Painting Of Magnificent Scenery. In Listening To Sounds Of Nature In the Cold, the trickle flows to winding rivers and then forms wide waterfalls that fly down to the deep pool. Besides, lush forests and mists add to a special charm and profound meaning of the scene. Scenes Of The Deep Valley (2007) also has a three - gradation structure in close shot: the spring is approaching as twigs are turning green; people come and go across the stone arch bridge; angling beside the stream, old fishermen are drunk with the scenery.

　　Eight features above not only display that the land is rich in beauty, but also embody the spirituality of Chinese by symbolism or metonymy that "a gentleman compares virtue to jade" .

　　The second category —— " love for the people"  are exemplified by about twenty works, like Millennium Ancient Village (2010), Savoring Hometown (2008), Cloud - covered Village (2008), Years Stay in Remote Mountains (2008), Through The Years (2004), Taihang Households (2006), Listening To Hometown (2007). Mr. Jia elaborately describes hundreds of villages inside mountains. There are randomly scattered houses, winding passes between hills, working or relaxing mountaineers, flocks and herds in the hillside, vigorous grass and trees among huge rocks, hanging waterfalls and reposing streams……They are all presented to readers in a clear, plain and natural way. This place is exactly like the Peach Blossom Spring created by Tao Yuanming.

　　In a reflective and emotional way, Mr. Jia deeply recalls his childhood mountains, as well as ancient villages which have a world of differences from modern metropolis. It's a release of homesickness, and also a rational reflection on both rural and urban civilizations. It is the hardship, diligence and plainness that Taihangers develop as days go by that remain forever the foundation of Chinese and spiritual wealth worth of pursuing by people living in metropolis. No matter how far the civilization evolves, those mountain and villages are always our root. However, for those who are lost in material and noisy cities, Mr. Jia's "Landscape Painting Of Magnificent Scenery"  sincerely call them "to get out of this and go back home! My fields and garden will be overgrown with weeds, I must go back. It was my own doing that made my mind as my body's slave. Why should I go on in melancholy and lonely grief? ……I have no desire for riches, and no expectation of Heaven. Now planting my staff to take up a hoe, or climbing the east hill and whistling long, or composing verses beside the clear stream……"  (Tao Yuanming, Homecoming)

　　What I discussed above may be the practical significance of Mr. Jia's series Homesickness and Love For The People.

　　3. cultural heritage

　　Inheriting is the basement of the creation of Mr. Jia's paintings.

　　Han Zhuo, a poet of Song dynasty, has told us that "if a painter did not follow the traditional rules, barely blindly satisfying the masses, he would not surpass the other painters. And such people were not the real painters and it would be hard to discuss with them. People in today's life took more attention on pursuing the fame and wealth. There was so rare to find a person totally devoting himself in studying."  Removing the year of the above saying(about 1121 years ago), it is completely suitable for today's landscape paintings, and the whole art field. One thousand years later, we are still encountered with the difficulties and problems as the ancient people confronted. So we should examine ourselves on the basis of the ancient, which may awake us.

　　From this aspect Mr. Jia，accompanying with his masterpieces， sets a positive example for this era.

　　First, with a natural attitude, he can bear the poor condition and the sense of loneliness. What's more, he obeys with the traditional methods and has lived in the Taihang Mountains for more than ten years, adhering to the ideal and the pursuit of dream. All of these have gone beyond the fame and fortune. How precious for him to do this for so many years!

　　Second, he inherits and carries forward the spirit of "landscape" of the elders, following the old saying that "When reflecting the nature, we should have our own subjective idea. " (ZongBing said it) He works so hard and finally sets the "Taihang" for his motif, with this spirit, reconstructing the spirit of China. The "landscape" is no longer the boring symbol of China, merely acting on the surface.

　　Thirdly, he held the opinion that there exists same points among changes. (Dai Xi said, Qing dynasty). He falls back for going forward and sees the popular things as the elegant ones.(All of these take courage.).At the same time, he transfers the perspective to provide us a big landscape, inheriting the ancient paintings and having a unique style. He provides us with the visual arts "feast", using his delicate words and superb painting skills.

　　Fourthly, he pursues masculinity, appreciating the old saying that "Natural movements are strong, accordingly, people should also act like that, striving constantly. " (Confucius).This has been the tenet and features of "north school landscape painting". However, this idea has been rejected by painters of the Yuan, Ming, Qing dynasty. Today, such trends of rejection are increasing, and it is so urgent to set a model for us, picking up the slack, creating a sense of masculinity and crashing the withering circumstances. Mr. Jia has this ambition and mixes it with his own practice of arts, providing the "north school"  paintings a good chance to develop. Before him, Youfu Jia and Zhenkuan Liang have outstanding performance in this trend. Mr. Jia's activities create another example in evaluating the "north and south school"  and realizing the pattern of "holding the different ideas at the same time." (In the past, people had reviewed.)

　　Except for his "Landscape Painting Of Magnificent Scenery" , he also tries to create some abstract patterns of landscape. Even though they are not finished, they also reflect his next directions of creations. We are looking forward to them.

　　Jia spends 10 years to grind the swords and we are waiting to see the great beauty.

January 25th to February 16th, 2012. Finished in Nanjing, Caolv house.