Liu Mingxiao has been experimenting with incorporating the concept of Chinese ink art into oil painting.

"After the outbreak of the War of Resistance against Japanese Aggression (1937-45), many top artists gathered in Chongqing (the wartime auxiliary capital), which gave local art a big boost and had long-lasting impacts that can still be felt today."

He suggested the exhibition be curated by the four cities in turns to influence local art communities and audiences in a more profound way.

He said that besides senior artists who inherited art traditions during wartime, a new generation is emerging with middle-aged and young artists actively engaging with seal cutting and seal script writing. And he hopes to offer a better showcase of their talents.

Art theorist Liu Longting echoes Zhang's comments, agreeing that young painters have been brushing up their academic studies and overall abilities. He said many artists are good at brush techniques and sculpting but need to form their own styles.

He added that to make sure an inter-city art activity was a regular, high-quality event, the works on show should not have too short a time between commission and delivery. They should not have been exhibited many times-the common failings of many similar-looking exhibitions.

"Ink painting and calligraphy as traditional Chinese art should be in touch with the thinking of serious artists," he says.

Meanwhile, the four municipalities have witnessed a mushrooming art market. Supporting more galleries has become an essential issue to the sustainability of local art development, according to Zhao Lizhong, a researcher with the China National Academy of Painting. He said more affordable prices offered at galleries made it possible for artworks to be purchased by families.

"If every newlywed couple can afford an ink painting or a calligraphy scroll-not large in size but decorative enough to brighten up their home-the market will have incredible prospects," he says.