Since 1954, he has participated in the national art exhibitions, including Yan Pu, Fuchun River, Mountain Bow, He Rang, Welcome to the Dawn in Qian Fan, Qianshan Mountain and Spring in Shanghai. By Fuchun River, Scout Mountain Looking at Tonglu, Living in a secluded place at the foot of a forest and Qifeng Songxiu have been exhibited abroad and in Hong Kong, and have been included in picture books.
The works reflecting the Red Army's Long March, Dadu River and Luding Bridge, are collected by the China Military Museum, while the works depicting the great rivers and mountains of the motherland and the spring scenery all over the Great Wall, Lushan Mountain and Huangshan Mountain are now in the Great Hall of the People, and the works such as 25,000 Li Li Long, Scenery of Chashan Mountain and Accusing the Landlord are collected by the China Art Museum. Ying Yeping believes: "Use a pen to be affectionate. The word "love" is often ignored by people and it is not easy to make it clear. In fact, Chinese painting has always been about' pen feeling and ink interest'. Here, the word' pen' and the word' emotion' are linked together and contain profound meanings. The feeling of using a pen comes from the feeling of expressing the object and also reflects the subjective feeling of the author. If the author has no feelings for the performance object, it is impossible to have feelings at the end. Therefore, painting depends not only on skill, but also on emotion. " Ying Yeping, who came from the old times, has been in the age of no doubt since the founding of New China. It welcomes the prosperous times and renews its ideas. The constantly emerging new things can always arouse his creative passion, and eulogizing the changes of the times with traditional pen and ink has become his conscious action of diligent exploration. He walked out of the studio, went deep into life, shared his destiny with the people, his thoughts changed, and his painting style changed.
From his thousands of sketches, it is not difficult to see that he has got rid of the shackles of the old program, and his pen and ink techniques are becoming more and more mature and perfect. Some subjects never touched by the ancients and some forms regarded as dangerous by modern people dare to be the first, and he uses them freely without revealing gaps. The transmission towers and giant cranes in Travels of Guangzhou, the bumper rice fields, farmers' new houses and riverbanks in Travels of Tonglu, the newly-built factories in Travels of Changshu, the nursing homes and Panshan Highway in Travels of Jinggangshan, the 10,000-ton ship on Huangpu River and the industrial areas and buildings on both sides of Suzhou Creek are all accurately and vividly described. In the 1960s, Ying Yeping created a large number of Mao Zedong poems and paintings, which skillfully combined the profound poetry of the leaders with the magnificent mountains and rivers of the motherland. They were bold, colorful and magnificent, and had unique aesthetic value. The main work is Loushanguan, which describes the epic battle course of the Red Army in destroying the camp, pulling out the village, breaking through the customs and defeating the enemy. In the picture, the frost forest is full of dye, the mountain is high and the road is dangerous, a Red Army soldier stands on the cliff and blows the marching horn, and the mighty Red Army team rides forward and plays a triumphant song. Exquisite shallow front painting vividly embodies the dauntless and heroic spirit of "Xiongguan is as iron as a road, taking a step now".
Written on 1966, "Wan Shan Hong Bian" is a combination of lofty and far-reaching techniques, with overlapping mountains, ups and downs, plunging down, tinkling streams, frost-covered forests, blooming like spring flowers, ochre red, warm and dazzling, and alternating between reality and reality.
Written on 1965, "Wan Shanhong Class" is full of splash ink, vigorous brushwork, rich ink color, touching, mountain climbing, full of real power, showing the spiritual connotation of that era.
"Climbing Mount Lushan" takes the brushwork of the Yuan people, sketches and rubs it in one go, and is painted in turquoise, which is full of meaning. It inscribed Mao Zedong's seven-rhythm poems in cursive script, and the poems, books and paintings complement each other.
The painting "Rice Waves" depicts farmers happily harvesting new rice under the dense forest of Chongshan Mountain. The rice waves roll straight into the eye, full of decorative interest, vividly setting off the meaningful poetry of "I like to watch the rice waves, and heroes everywhere are setting off the sunset", and the content and form have reached a perfect unity.
Works of art are the product of the times and the "barometer" of social changes. In Ying Yeping's works, the themes describing revolutionary shrines and sites occupy a considerable proportion. There are many paintings in Jinggangshan alone. Jinggang scenery is dominated by trees, scattered far and near, with rich colors. The contrast between the red-roofed buildings in the distance and the turquoise tone is very strong, and the historical sites in the mountains are towering and towering, which embodies people's deep memories of hard work in hard years. Other works, such as Ma Shuangshi, Zhu Sha Chong, Huang Yangjie and Ciping's new look, have scenes, rhythms, realism or art, with diverse techniques and wonderful effects.
Ying Yeping once recited the poem "Sincere Love and Deep Spring" and appreciated his work "The Former Residence of Chairman Mao", and he can deeply feel its rich meaning. In the bright spring, people who went to pay their respects entered in turn, daydreaming. The pond in front of the former residence is full of spring waves, pines and mountains, full of business, scenes and scenes, and profound meanings. Such a sincere red classic is comparable to Li Keran, a master who is also famous for his red classic paintings in the north.