黎明的写生风景作品特别出色，用笔不拘于传统方法，而且设色温暖，构图也别出心裁，笔者曾亲观黎氏的作品《澳门主教山》，发现黎明并不是依照“折衷派” 的构图方式描这一物件，他把教堂放置在疏落的树枝后面，结构与透视也非常准确。笔者也曾到主教山原处写生，再对照黎氏那张作品，明显地发觉黎明对於描绘澳门风貌并不拘泥于对自然的如实反映，也就是话他并不追求绘画的“照相” 语言，而是按照画作的要求去调整视点，而且景物为画面所表达的内容服务。就这两方面来看，黎明的山水写生作品，在芸芸的“春睡” 传人中，已经牢固地站住脚了。

　　摘自《黎明与折衷派》1997《澳门日报》

　　陈继春•博士，澳门美术史学者

　　Lai Ming’s landscape sketching works are extraordinarily and non-conventional, using warm colors and the unique painting composition. The writer used to see Li’s Macau Bishop Hill in person, finding that Lai Ming didn’t depict it in the eclectic way of composition. He put the bishop at the back of sparse branches, which presented an accurate composition and perspective. The writer also used to go to the Bishop Hill to sketch.

　　While observing that piece of Li’s work, he found that Lai Ming obviously didn’t reflect the real nature in his depiction of Macau landscape. In other words, he didn’t pursue the copying method of painting but adjusted the focal point according to the characteristics of landscapes. In this sense, Lai Ming’s landscape sketching works have gained ground among generations of artists from spring nap.

　　Dr. Chen Jichun•Scholar of the Macau art history

　　Lai Ming and Eclecticism, Macau Daily, 1997