Recent studies in Western art history consider stylistic transformation to be the central curriculum and often follow one of three schools: evolution, history cycle and science of art, ach with its particular characteristics, appropriate applicable background and art category. However, in terms of perspective, these studies can be basically divided into two types: internal or external critism. The former focuses on descriptions and analysis of inherent features of the art work itself, whereas the latter focuses on other conditions that have influenced the work. However, in order to better understand the content of a piece of art, iconography can be a more practical approach. Pan Tien-Shou, a great ink painter and art theorist of the 20th century, also lectured at the National Art Institute of China, Southeast United University, Jinan University and Ingshi University. Towards the end of the Sino-Japan War, Pan was the principal of National Art Institute of China for three years. This writer has always been interested in the works of styles of traditional Chinese painting masters of modern times. In order to further understand changes in Pan Tien-Shou's creative journey and developments in his painting style, I intend to use Panofsky's theory on iconography and iconology as the basis of my discussion. The study will have the following structure: Introduction, Research Motive and Purpose, Research Method and Terminology; Panofsky and Iconography Theory; Iconographic Analysis of Pan Tien-Shou's Painting Style and Characteristics; Developments in Pan Tien-Shou's Creative Process; Different Phases and Related Features of Pan's Style. In conclusion, I will attempt to Interpret the connection between Pan's painting style, the changing times and society.