李大治的题材库很深，他会从身边形形色色的物体中提炼无数主题。如果到此对李大治创作主题的艺术特质作一个中期小结的话，我们可以借用法国汉学家、哲学家弗朗索瓦 于连（Francois Jullien）的“淡”概念，这个概念放在此处不仅很合适，而且非常令人深思，因为李大治恰恰淡化了一切钝重、耀眼的事物，淡化了所有聚焦终极对象的痕迹。这种淡笔绘画充分发掘出了不经意事物中的意味深长，并因此引发人的强烈思考。它将我们的感知引导到可见之物在细腻处熠熠生辉的模糊边缘。这种反聚焦美学带有一种灵性意味。在这种极简主义的绘画中，在对色彩的苛刻运用、对过渡色和过渡区的专注中，人们可以学会观看那些无法聚焦或在时光中弥久长存的事物。

Li Dazhi has a large theme pool; he can produce countless topics from anything around us. If I should summarize his artistic logic about his creative career, I might borrow French philosopher Francois Jullien's concept of "pale", this should fit well also drives people to think, because Li Dazhi paled every heavy or dazzling objects, and paled all the trace of focusing. This paled drawing critically explored the hidden meaning of objects, also letting people to think deeply. It leads our mind to the vague border between visual objects and searching the subtleness. This anti-focusing aesthetics is spiritual. In such minimalist drawing, the usage of color and transition change becomes highly sensitive, but people could learn a way to watching those unfocused or hidden things