The landscapes of Qiu Shihua are about mood and emotions; they have withdrawn to the edge of visibility. In this catalogue for Qiu Shihua’s one-man show at Hanart TZ Gallery (Hong Kong) in 1991, Chang Tsong-zung interpreted Qiu’s artistic expression as follows: ‘Qiu Shihua arrives at these pictures by re-creating real sceneries which return to him in meditation, thus giving them their strange, rarefied atmosphere. And significantly, his technical process must be re-created by the viewer in the process of studying the work. Perhaps the rare virtue of Qiu’s art lies in recovering for us the mysteriousness that is embedded in our own vision. From the edge of visibility, the viewer is led to review his own mode of perception.’ A biography of the artist is included.

邱世華的山水畫以寫意抒情為主，但其畫境總顯得若有似無、影影綽綽。在這本香港漢雅軒於1991年為邱世華舉辦個展所刊印的圖錄中，張頌仁對邱世華的藝術表現手法曾有以下的觀感：「邱世華把塲景懸疑在視覺結構的邊綠上，不僅是技巧的遊戲。他作畫造境，往往從靜坐中冥想得來；那是實境在心境的重現，其中通過潛心靜觀的過程。他在繪畫技巧上使觀畫人重溫他的造境過程，也因此共同參與了作畫的創作體驗。」本圖錄亦載有藝術家的簡歷。