Wu Changshuo is best at freehand brushwork flowers, and is greatly influenced by Xu Wei and Badashan people. Because of its profound knowledge of calligraphy and seal cutting, it integrates calligraphy and seal cutting, knife cutting, composition and posture into painting, forming a unique painting style full of golden stone flavor. He himself said, "The strength of my life is that I can draw by writing."
He often writes Mei Lan with a brush and grapes with weeds. The flowers and trees and flower stones we made are bold in brushwork, transparent in paper back, unrestrained in vertical and horizontal directions, magnificent in layout, almost sketchy in composition, preferring to adopt the pattern of "zhi" and "female", or oblique, combining reality with reality, with prominent themes. I like Zhao's colors. I like to use rich and contrasting colors, especially western red, strong and bright colors.
Ren Bonian, a famous painter at that time, marveled at Wu Changshuo's painting with Shi Guwen's seal cutting, and predicted that he would become the mainstay of painting. Wu Changshuo painted Cao Zhuan Shu in calligraphy;
The lines are extremely deep. Although from the perspective of object painting, the texture of its lines does not seem to be rich and practical, it is precisely because of abandoning the fetters of form that Wu Changshuo's paintings entered the temple of "meaning", thus forming a "freehand brushwork" expression that influenced modern China painting circles.