When Li Haiwang woke up from the Pingyao Ancient City early in the morning, it looked as if the splendid moments in the Dao Guang period had recurred if it were not for the cobweb-like wire and poles as well as modern-dressed people and vehicles as Rishengchang Ancient Bankwas just opening. He sat at one corner inside, gazing at the tablet, expecting the sun to rise and sunshine. The dawn light entered through the abacus beads on the left of the tablet as if everything had returned to the unquiet Empire of Silver, which was not far away, and the tablet, the ray of sunlight, had made him return to the moments of Shanxi draft bank.

　　When it comes to today's finance, people tend to be associated with wealth and fashion cities like London, Frankfurt, Tokyo and Wall Street of New York or financiers or prestigious school talents like Warren Buffett. However, the ray of sunlight on the tablet of Rishengchang, cannot prevent people from looking back to the establishment of non-governmental finance in China two hundred years ago, converting heavy silver to silver coins. It was this piece of yellow land, the plain ancient city and these Shanxi farmers like Lei Lvtai that greatly pushed forward China's modern commercial civilization; it is also these interests that let the yellow-land-born and yellow-land-bred Painter Li Haiwang is sentimentally attached to the historic light and shade in the creative passion.

　　As is known to all, wealth is like a piece of paper, without which you come into the world, and which people pursue in the whole lives. Today, it is really hard for us not to take seriously currency, bankbook, stock, national debt and voucher. Looking back, we can find it the same thing in the case of the special symbol of silver coins; wealth on the paper appears to be valuable but meaningless because of its lightness and thinness, reflecting people's intricate wealth dreams anywhere and anytime. In spite of this, dreams can be disillusioned and inner entanglement can be accompanied by contradictions and pains. It is Li Haiwang, whose conscious mind cuts through the sky above the Empire of Silver, painting's silver coin damage, lightness and thinness, fragility and anxiety as well as the important words on the silver coins at one time that have become forms and symbols; in the straightforward ideological context of Li Haiwang, silver coils which were extremely arrogant at one time represent wealth essence and helplessness in a naked manner of the paper wealth which is intended to be complete, representative and important.

　　More often than not, the wealth of this series looks like grey tone. Most of the resplendent parts of human civilization, past and present, at home and abroad, are bound up with wealth accumulation. Meanwhile, dark, gloomy, corruptive and lost human nature is the result of wealth. With a pair of eyes for light gathering and thinking, he has few words, feeling that everything is under the brush. The grey tone in the painting is both melancholy and clear to express dignified, imposing, modest and weightless human nature with spraying, coating, piling, painting, delineating, carving, stroking, washing, displaying and leaving blank. Ultimate grey doesn't exist but usually the combination of dark, light, warm and cold colors, forming the laughing and playing, past and present.  The wealth in the painting looks like red, passionate, self-contained viscosity, bloodiness, sweating and anxiety; it looks like the hope in despair and dust without air but being fresh and alive. In such comparative and trancing interest, the red metal and stone seal is picturesque and free, presenting itself in the presence of the people; some red parts stand in the thatched cottage vividly and on the blacked and burned, making people delighted and conscious; some parts are, perhaps, squeezed from smoked coke; some parts are, perhaps, backed by the backdrop, together with dust… These are all the abstract, freehand brushworks of Li Haiwang.

　　Every morning, the sunlight cast on the tablet of Rishengchang looks like the same and different; the silver coin in the painting looks the same (and different from) as that of the Empire of Silver. Through space, the coin number still exists; through time, wealth has become dust; through both space and time, the paining leaves the deposit of the light and shade and history.