This paper focuses on the four concertos by QIN Wenchen spanning over 20 years: Calling for Pheonix,Dawn,Across the Skies,and The Cloud River.Through a diachronic perspective,it reveals that his musical language evolved from melody to timbre and sound,the relationship between solo and ensemble changed from opposition to harmony,the cadenzas within the structure shifted from explicit to implicit,and even the focus of spiritual pursuit moved from Confucianism to Taoism.One consistent aspect throughout,however,is his creative philosophy centered around the concept of‘vivid charm’and his personalized expression.