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In terms of traditional Chinese painting, freehand brushwork is not only form but also connotation, is the essence at the same time. In a word Chinese painting can’t be away from this center, because it is the philosophy idea of the harmony between the heaven and the human’s materialization, one of the fine Chinese tradition culture, and its the most significant feature. As for language, form and style, Chinese painting has two kinds, that is fine brushwork and freehand brushwork, and the later has two different types namely great freehand brushwork and small freehand brushhand. Freehand brushwork’s writing has limitation but its implication is infinite. Too small, the painting will become fine brushwork, but too great, the painting will turn into abstract ones. Relatively speaking freehand brushwork pays attention to both implication and technique of drawing, and this is particularly the case for great freehand brushwork, which is the art of inscribing implication with technique of drawing.Creating freehand brushwork needs consummate talent, endowments, knowledge,cultivation and skill, and needs some methods in accordance with rule, measures, and aesthetic. Calligraphy and freehand brushwork are the art of technique of drawing and emotion.Nowadays, in Chinese painting circle a flower-bird painting with regionality and contemporaneity called "North of the Great Wall Flower-bird Painting School" is growing up. Its center figure is professor Gao hui-min. Mr. Gao had explored North of the Great Wall Flower-bird painting for 30 years since the end of 70th last century, and has become a famous artist now. Heilongjiang Province locates in the alpine region, has many objects which haven’t been dabbled by tradition flower-bird painter, so excavating special art theme and broadening the flower-bird painting’s expression fields provide objective base for a artist to form unique style, and in terms of content the formation of "North of the Great Wall Flower-bird Painting School" has groundbreaking significance.Researching Mr. Gao’s great freehand brushwork flower-bird painting has historical and realistic significance. The key of his art style is the ingenuity of writing and implication. The paper discuss the historical origins of writing, the writing and the implication of Mr. Gao’s freehand brushwork, the relation of implication and writing, the relation of implication and personality and emotion to attract more attention on its research.
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