Professor Youlan is an active and prolific authoritative scholar in the field of Chinese art research overseas, focusing on the translation and research of Chinese aesthetic theory. Her interest in Chinese calligraphy and painting began in childhood, and later she pursued further studies at the French National Institute of Oriental Languages and Civilizations. Influenced by Xiong Bingming and Cheng Baoyi, she began to attach importance to translation work. Professor Youlan's doctoral thesis studied the Tang Dynasty calligrapher Chu Suiliang and emphasized the aesthetic value of Tang Dynasty regular script. Her translation practice complements her calligraphy and painting practice, allowing her to gain a deep understanding of traditional Chinese art through personal experience. She emphasized the difficulty of translating Chinese calligraphy and painting theory, which requires the ability to read classical Chinese, knowledge of calligraphy and painting history, rich knowledge of literature, history, philosophy, and practical experience in calligraphy and painting. Professor Youlan's translation work was independently completed, relying on reference books such as the Li's Chinese and French Dictionary, and demonstrating the polysemy of the original text through annotations. Her translation "Jiezhou Xuehua Bian" was included in the "Chinese French Translation Library", becoming the first painting theory included in the translation collection. Professor Youlan believes that once the translation problem is solved, it will open up unexpected perspectives, and her translation experience has given her a deeper understanding of Chinese "aesthetics". She entered the spiritual world of Chinese classical artists through translation, emphasizing that translation is a way to understand the spiritual world of Chinese classical artists. Professor Youlan's translation and research work aims to provide French readers with a comprehensive understanding of Chinese calligraphy, painting, and art history. She focuses on Chinese orthodox calligraphers and portrait painters who have been overlooked by the West, and guides readers to understand the social and historical context, philosophy, and aesthetic background behind calligraphy and painting theory in the arrangement of translated texts. She believes that the Western understanding of orthodox Chinese calligraphers and painters is far from sufficient, and research and translation work need to be strengthened. Professor Youlan works at the Art and Language Research Center of the French National Academy of Sciences and the French Higher Institute of Social Sciences, and is the only sinologist. She believes that Chinese ink, as a unique cultural entity, has rich connotations in philosophy, aesthetics, and techniques, and requires the accumulation of time and experience. Professor Youlan pointed out that there were "variations" in the dissemination and acceptance of Chinese classical calligraphy and painting or calligraphy and painting theory in France, but contact, communication, and mutual understanding were the most important. She believes that after entering the digital information age, people's understanding of China has gradually expanded and deepened, and the number of people learning Chinese in France is constantly increasing. There will be more cooperation in the future. Professor Youlan mentioned that Chinese art teaching or research institutions in France include the Far East Research Institute of Sorbonne University in Paris and the East Asian Civilization Research Center in France. She emphasized that without understanding the theory of Chinese calligraphy and painting, it is difficult to comprehend classical Chinese calligraphy and painting, and thus unable to have a deeper analysis and understanding of Chinese modern and contemporary artists. She believes that the research methods of Cheng Baoyi and Xiong Bingming are both effective and provide important references for her academic research. Professor Youlan also sees the infiltration of two paths in her teaching. She teaches calligraphy classes, emphasizing how non Western artists can convey temporal and spatial experiences through unique artistic expressions. She believes that the pictographic shapes of Chinese characters are closely related to the visual symbols we are in the world, and writing calligraphy is about our physical attitude and our relationship with the world.