跟我之前表达的阳刚之美不同，旦角不像净角那样鲜明，画得太写实容易流俗。为此我做了大量的尝试和练习，后来找到了一种适合的绘画语言。

比如这幅作品中眼睛旁边的一笔，神采飞动。同时，我刻意弱化了唇部，更加突出眼神的表现力，给人以英气逼人的感觉。绘画身体时，我用的是大写意的书写性线条，人物的动势便像一张弓，充满张力。背景部分有我砸出来的颜色，喷薄而出的感觉体现出角色在战场上所向披靡，巾帼不让须眉。

In contrast to the masculine vigor I expressed previously, the Danjiao (female role) lacks the stark, bold definition of the Jingjiao (painted face). If rendered too realistically, the character risks falling into the mundane or the clichéd. To avoid this, I undertook extensive experimentation and practice until I discovered a fitting visual language.

In this piece, for instance, a single brushstroke near the eye ignites a vibrant, soaring spirit. I deliberately de-emphasized the lips to amplify the expressive power of the gaze, imbuing the character with a commanding, heroic aura.When rendering the body, I employed the spontaneous, calligraphic lines of the Great Freehand style. The character’s dynamic posture is like a drawn bow—taut and brimming with tension. In the background, colors are 'smashed' onto the canvas, creating an eruptive effect that reflects the character's invincible prowess on the battlefield—a testament to the female warrior who stands second to no man.