In the “Homage Series of Paintings”, Qian Wu selected three of the most classic portraits works in the history of world art: Rembrandt, Van Gogh's "Self-Portrait" and Leonardo da Vinci's "Mona Lisa" as the objects for recreation. He designed carefully and expressed naturally, retaining his unique painting language. He kept emphasizing on the use of "lines", and boldly used blank space to let the human figures stand out, highlighting the aesthetic idea of "making something out of nothing”, “the translation of nihility & reality”, and “reckon blank as inked”. He continued his strong personal style of scratched brushstrokes and pioneered the use of weaving colored geometry to present different colors in a fragmented yet unified manner. He combined action painting and geometric abstraction, seeking his way of expression in the collision of contrasting ideas and exploring the intersection and boundary between perceptual abstraction and rational abstraction. The "Tribute" series of paintings is presented in the form of easel paintings, but Qian Wu strived to break the conventional method and actively tried different techniques, using collage, masking, destruction, and other methods to practice the concept of "seeing order from disorder, re-establishing order through deconstruction”. From complexity to simplicity, he hatted off to three giants in the history of human art.