This painting is framed exceptionally well. The sequence of reference points encompassed in a circular frame makes it difficult to fix this painting to just one reference point, but that is what makes it so intriguing. In the Chinese culture, a circle typically represents infinite perfection so to place a traditional Chinese opera stage inside such a frame may hint towards a level of attachment to such artistic traditions. The outside frame is a square and when used in this manner is known to represent the earth in Chinese symbology. With this in mind, it could be said that Zhang Shaokua is attempting to suggest that we hold onto our traditions as signifiers of our own cultures and ancient practices, whilst keeping them alive in the present through modern engagement such as art representation. This traditional stage would have been typically used during a Chinese opera for the best part of eight-hundred years, with the singers and actors shown through the opening in the centre of the stage. The fact that this image is then depicted almost in a model form and on a Ming dynasty wooden table, but with life-like street flooring is bizarre but brilliant at the same time. It really has the effect of creating a dream-like depiction of history, one re-envisioned with the stark fluorescent colours of the modern day.