Although Chang was a social figure - he enjoyed making new friends and attending parties - his works often conveyed a sense of detachment, mixing emotions of tranquility and aloofness with loneliness. His paintings often centered around a single subject matter, for example, a vase of blossoms against an empty backdrop, or a lone horse set against an expansive grassland.

He was born to a wealthy textile-making family in Nanchong, Sichuan province, and his elder brother spared no effort in sponsoring his studies abroad until the family business waned during the wars and chaos of the 1930s, Keng says. This family support allowed him to pursue art without being fettered by financial concerns and in the process helped him develop a sense of pride and defiance.

Keng adds that because Chang was brought up in a well-off environment, he received a comprehensive education in Chinese literature and the arts. He practiced refined calligraphy, he had a solid knowledge of literature, and in his later works, he incorporated elements from Chinese folk art and inscriptions from ancient Chinese stone and bronze tablets into his work.

She says a good understanding of both Chinese and Western cultures therefore enabled Chang to quickly adopt the bold, vanguard features of modernism in his creations, while naturally retaining the essence of his home culture - making him a unique exponent of the Chinese modern art movement.