Not only was he adept at classical themes of the plum blossoms, orchids, bamboo and chrysanthemum (known in Chinese as the sijunzi or ‘four gentlemen ’), Ling was also creative in applying his talents to more uncommon subjects in Chinese painting, including tropical fruits and flowers, the regional landscapes of Malaysia, Thailand and Singapore, both urban and rural; nudes and portraits, and his lively depictions of snails and sparrows among other subjects. Ling especially won recognition and praise for his paintings of plum blossoms and his landscape works, noteworthily their bold composition and for his daring use of ink as an expressive force in itself. In his Southeast Asian themes, he painted sceneries of Singapore, Malay kampungs and Balinese landscapes, bringing to life these regional vignettes in his vigorous style which still preserves the finesse and detail of his subject matter. The largeness of spirit and expression typical of the Shanghai School can be seen in his classical themed paintings of birds and flowers. But Ling went beyond the traditions in which he was schooled, incorporating increasingly abstract qualities in his work. By the 1990s, his work in the landscape genre had included the usage of acrylic paints, making him stand out as a modern Chinese painter of the times.