Great freehand brushwork is not only a simple and unrestrained expression of brushwork, but also an independent revelation of the artist's life and personality. Xu Yumo's wild and wild grapes embody his lifelong integrity and aloofness; The water bird that the Eight Great Mountain people roll their eyes at symbolizes their hostility and helplessness towards being executed, exterminated, and struggling; And Fu Baoshi's cascading rain showcases the heroic and free spirited spirit that can only be broken free from reality and unleashed through his free and unrestrained brushstrokes when he is often drunk. Great freehand Chinese painting is an art that is reserved for artists who are naturally independent, have a difficult fate, and have intense conflicts and collisions with the real society to burn their lives. For this type of artist, freehand brushwork is like opening up their long accumulated crust, spewing out the flames and magma of their lives.

Shang Lianbi's Chinese painting belongs to this type. He has a straightforward and straightforward personality, with a clear distinction between love and hate, just like his early black and white woodcuts, wielding a knife towards the wood without any hesitation. He is chivalrous, generous, and hospitable. If his freehand brushwork is filled with anger, even the most empty spaces will be filled with chivalrous spirit. He is not good at navigating the wind and is not good at using hypocritical words to conceal his sincere conscience. His political immaturity and lack of defense for the world have made him suffer a lot in an era of strong ideology and the need for hypocrisy to avoid risks. But constantly facing adversity has sharpened his strong character, just like steel that is constantly quenched, hard yet easily brittle. The anger that could spew out flames at those moments accumulated in his heart for a long time, and the capitalized meaning, like drinking alone, had become an indispensable channel for him to vent his emotions. In the author's opinion, it is often not about creation, but rather about sharing, which is a form of venting and crying that he cannot find an outlet for in reality alone. Qi is abundant and meaning is long, not limited to small details. The capitalization of meaning stems from the disillusionment of one's life.

He is as fond of alcohol as his mentor Fu Baoshi. The author believes that during the Cultural Revolution, when he was criticized for being drunk and smelly, it was those low-quality turbid wines that supported his life. It was also during the late period of the Cultural Revolution that he gradually shifted from printmaking to Chinese painting creation, and became increasingly addicted to the realm of Fu Baoshi's waterfall and rain, as if the carefree brushwork was a hallucination of his spirit. He learned the grand and unrestrained demeanor of the Stone Master, the spirituality of capturing the soul of nature, and the brushstrokes that were not bound by ancient methods. However, as a painter who had received education in realistic painting and engaged in oil painting and printmaking, his landscape paintings could not be completely similar. Learning from his work was not like learning from his heart, which actually achieved his unique artistic appearance. In contrast, his creations have enhanced the expressive tension of breaking ink and scattering sharp edges, improved the independence of color imagery, and highlighted the awareness of the composition of natural landscapes.

Fu Baoshi's ability to "often get drunk" and sweep his artistic personality vertically and horizontally on the frame is all thanks to his creation of broken ink and scattered edges. This kind of brushstroke language has changed the traditional writing process of texturing, incorporating numerous texturing techniques into one tube, and infusing the "image" in the chest into the picture in an instant with the speed of passion. The unique blend of virtual and real elements vividly portrays the scenery of mountains and rivers amidst the misty rain. But features can sometimes become limitations, especially for painters who have only learned the art of "Baoshi Cun". Breaking through ink and scattering sharp edges and cracking often results in the haziness of the smoke scene and loses its artistic expression. Shang Lianbi's paintings often boldly strengthen the "bone strength" of the scattered front, enhancing the expressive intensity of this texturing technique. Undoubtedly, the addition of "steel bars" to the broken ink and scattered cracks also enhances the architectural expression of mountain and stone shapes. In the work "Winter of Mount Huangshan Mountain", the hard, dry, and smooth texturing lines not only help to express the beautiful and beautiful artistic conception of Mount Huangshan Mountain in the boundless snow and falling trees, but also the texturing lines themselves are full of tension beauty. In Mount Huangshan Clouds and Smoke, the "bone strength" of this texturing method not only shows a thick and boundless, but also expresses the quality of being flexible. The use of bony texturing lines in the close shot of the Taihu Lake Lake Rainy is not only a painless smoke scene portrayed in torrential rain, but also a materialization of emotions.

The independence of color imagery refers to the unique role of color in creating artistic conception, which is not subordinate to ink. In traditional landscape paintings, including Fu Baoshi, the use of color has always been suppressed, and the creation of artistic conception mainly relies on the "ink divided into five colors" technique of rubbing and rubbing. Even if color is used, it must be "ink transformed into color". With the introduction of Western painting to Middle earth, Western color concepts have gradually been absorbed by Chinese painters. Shang Lianbi, who received a complete college art education in the Department of Fine Arts at Nanjing Normal University, naturally incorporated some color concepts into his ink painting creations. For example, the ink color in "Hanging Curtain Frost Dye" only accounts for a small proportion, while the deep red color in frost dyeing fills the paper and increases the saturation of the color. The artistic conception created by hanging curtains and frost dyeing, if it weren't for the dazzling red color that covers the sky and earth, and if it weren't for such simple and strong deep warm tones, it would definitely not have produced such intoxicating autumn colors. The colors of autumn are rich and intense, and for winter snow scenes, Shang Lianbi can also draw subtle tones. The Silver Decoration of Jiang Han has almost no deep ink color, but instead fills the world with silver purple. The jungle, shoals, and slopes are covered with crystal clear thick snow, immersed in a pure and warm warm warm tone. Although Jiang Han is adorned with silver, there is no atmosphere of coldness and solemnity. Its clear, hazy, and full emotions depend entirely on the painter's use of silver purple tones. The series of works such as "Autumn Intention", "Sunset Glowing", "Falling Curtain Frost Stained", "Silver Decoration in the Cold River", and "Snow on the South Mountain" have clearly presented his exploration direction of creating artistic conception through color tone.

However, the independence of imagery and color must be limited within the scope of Chinese painting, and mastering the degree between color, water, and ink is particularly important. In works such as "Falling Curtain Frost Stain" and "Silver Decoration to Decorate the Cold River", if there is no unique quality generated by water color permeating on rice paper and using it as a foundation for a large area, its charm will be much inferior. The unique character induced by the infiltration of water color on rice paper has been repeatedly used by painters in the rendering of mountains and rivers. "The Radiance of the Sunset" and "Snow on the South Mountain" are based on this foundation, and the artistic conception is created by dyeing pure, thick and strong colors in close range. The color tone of ink brings fresh, bright, joyful, profound, and full emotions and artistic conception to Shang Lianbi's landscape painting. This is not only the natural expression of his color foundation laid by his early Western painting training and years of oil painting creation practice, but also his creation after integrating into Chinese painting brush and ink.

Perhaps, Shang Lianbi, who has overcome the limitations of "turning ink into color", has a more modern aesthetic experience and creative appeal than his peers. The emergence of modern compositional consciousness is precisely an unexpected result under this premise. In works such as "Green Shadow Fisherman", "Falling Curtain Frost Stained", "Sandgulls Dotting Clear Waves Far Away", and "Sunset Glowing", people can see that the painter has transformed the natural landscape into an orderly integration of points, lines, and surfaces, thus reflecting a more conscious awareness of plane composition. Whether it is the vertical lines of red leaves hanging low like curtains in "Hanging Curtain Frost Stained", the serialized horizontal planes arranged with broad pens in "Sandgulls Dotting Clear Waves Far Away", the rhythmic vertical "green shadows" falling from the sky in "Green Shadow Fisherman", or the meaningful color dots composed of crystal clear snowflakes in "Silver Decoration Decorating Jiang Han", all demonstrate the painter's conscious exploration of the flat rhythm and rhythm in the natural landscape.

Although Shang Lianbi's landscape paintings are inspired by Fu's brushstrokes, they more reflect his aesthetic experience and understanding of modern visual culture as a contemporary painter. And this visual experience, rich in modern cultural characteristics, constantly permeates his flower and bird painting creation, giving those flower and bird paintings that directly express his simple personality a modern aesthetic atmosphere.

Thanks to Wu Changshuo's bold and elegant yet exquisite flower and bird paintings, they are old and spicy yet clumsy, rich and vast. Just like Wu Changshuo's use of the charm of gold and stone in painting, Shang Lianbi's early woodcut creations not only enhanced his wrist strength, but also skillfully applied the pleasure of wielding a knife towards wood to the brushstrokes of flower and bird painting. Shang Lianbi's woodcut never wins with elegance and fluency. On the contrary, he often cuts wood with a dull knife, pursuing the childish and rustic charm of Han paintings like stones. When he applied this aesthetic experience to the brushstrokes of flower and bird painting, the momentum, ferocity, and ferocity of his brushstrokes naturally formed his bold, bold, and spicy brushstrokes. Moreover, this brushstroke is often portrayed to the extreme, seeming to be neither bold nor bold, nor bold nor sharp. His flower and bird paintings pursue visual beauty, and even the tension to grab attention, such as daring to lay large areas of ink blocks, strengthening the contrast between ink and white, making the image more textured and quantitative. The use of color is also more pure and strong, and through passionate and surging splashes, sprinkles, drops, dots and other expressive methods, it releases the loud and intense color intensity. The intensity of colors and the solemnity of ink blocks are elevated to a spiritual expression by his fierce and sharp brushstrokes, thus highlighting the grand atmosphere, pattern, and realm of his writing.

From the scattered strokes of the sky, wind, sea, and rain to the thick and heavy ink like blunt knives and carved stones, Shang Lianbi's Chinese painting always highlights his unrestrained and open-minded personality, and also reveals his creative attempt to break away from some stable aesthetic patterns. Whether it's landscape or flowers and birds, his simple and bold brushstrokes and unexpected ideas often leave people with some kind of awe and regret. Breaking through and standing out seem to be a spiritual quality that his works always demonstrate. Or rather, the richness of expressiveness, the simplicity of destructiveness, and the boldness of catharsis all constitute the personality and character of Shang Lianbi's artistic creation throughout his life. Behind this personality and character, we see his loneliness, his struggle, his drunkenness, his burning, his perseverance, and his creativity.

The greatness of freehand brushwork lies in his broad and simple mind and confidence standing between heaven and earth.