The Embodiment of the “Self-Exile” Ideology within Xu Wei’s Freehand Brushwork Paintings

With the proposal of the policy advocating cultural confidence, scholarly research on Chinese painting is thriving. Xu Wei, as the progenitor of the freehand brushwork, holds considerable research value in today’s domain of artistic and cultural studies. The vicissitudes of his life endowed his paintings with profound ideological connotations, among which the concept of „self-exile“ essentially permeates the latter half of Xu Wei’s life, becoming the predominant theme of his later years. Xu Wei’s „self-exile“ is primarily manifested in two aspects: his „view of futility“ and the quest for his true self‘s value. The most representative works in this context are the „Reclining Tree“ and the „Ink Grapes,“ which this paper will explore. Through the analysis of ink usage and inscribed poetry in these two representative works, this article aims to delve into the manifestation of the „self-exile“ concept in Xu Wei’s bold and freehand brushwork paintings. Furthermore, by tracing Xu Wei’s personal history, we will deduce the reasons behind the formation of this concept.