Freehand flower-and-bird painting was inherited by Shen Zhou, Tang Yin and Chen Chun, the "Wu Pai" in Yuan Dynasty. Freehand brushwork flower-and-bird painting is reorganized by the pen and ink method of literati painting, and the pen and ink with independent language and self-development is introduced into the flowers and plants in nature, so that literati painters no longer rely on the descriptions of Mei Lan and Zhu Ju to express their inner feelings. Only a few monotonous images and simple ink colors can't satisfy the rich feelings of literati. The relative independence of pen and ink language in freehand flower-and-bird painting enables literati painters to cultivate their self-cultivation in the pen and ink world and pin their hearts on the objects they paint. The independence of freehand brushwork in flowers and birds made the expression of freehand brushwork gain unprecedented freedom, and soon the artistic peak of freehand brushwork appeared, and Xu Wei was the representative of freehand brushwork.
On the basis of Chen Chun, Xu Wei developed small freehand brushwork into big freehand brushwork. Xu Wei's freehand flowers, "flying like a pen, dripping with ink", emphasize a word "qi" in the pen and a word "rhyme" in the ink. His pen seems careless, but if it is broken, there is a "broken pen" momentum between the pen and the pen. His ink seems to have been scribbled on paper over and over again. In fact, there is Mo Yun in the ink group, and the ink method shows the spirit. His wantonness and thin clothes are vividly displayed in his freehand brushwork. He himself thinks that painting is "mostly dripping ink, full of haze, lawless and dense", and "a hundred clusters of beautiful calyx, dead branches, moist ink, fresh color, flying sound, moving and living, pleasing, work and escape, are strange products" It can be seen that Xu Wei's paintings are using emotions to mobilize pen and ink, and pen and ink and things take the second place in his paintings. Pen and ink are no longer a problem for him, and objects are just a carrier. He elevated his life to pen, ink and objects. "Ink Grape Map" can best represent his freehand brushwork flower style. There is the author's own poem in the painting: "Half-life has become an Weng, and self-study is whistling in the evening breeze. The pearls at the bottom of the pen have nowhere to sell, but they are thrown into wild vines. " This is the portrayal of the author's mood. Zhu, a "multi-pronged" Xiangyin, and collectors and printers in the Qing Dynasty such as Li Zuoxian.
The composition of this picture is strange and seemingly random, but it creates a moving momentum and an artistic effect of crystal clear grapes. This painting draws grapes in pure ink, smearing them at will and hanging the branches upside down, which is vivid. The vines droop. With the freehand brushwork method of full water, the grape branches and leaves are stippled and the ink is smooth. The pen is cursive, incisively and vividly, and the poems and books are properly combined in the picture. The author combines ink grapes with his own life experience, a kind of helpless resentment and struggle that he has suffered a lot and is hard to pay, and expresses it with pen and ink.