Pu Hsinyu was born with an imperial and rich scholarly background. His literature, paintings and calligraphy were well-acclaimed, as they suggest deep philosophical background and reflect Pu’s rich personal experience faced during his lifetime. Pu once mentioned, “Feathers of birds and plants were differentiated by the tones of ink. Their ways of depiction are more important than colours.” Pu’s plants and birds paintings were mostly painted with Gongbi, and less with broad brushwork. This work was a rare example of flower masterpiece in broad brushwork. Ancient scholars painted an impression of objects instead of focusing on their realistic forms, for example depict flowers through heavy mist, or the moon in its reflection in water. Under this philosophy, this painting in broad brushwork becomes a better way of depiction compared with Pu’s usual Gongbi depiction. Pu painted lotus using Boneless technique introduced by Hui Shouping, added with a personal touch of individuality. Smaller brush was used to sketch details of lotus leaves, whereas green colour was used to depict broad leaves. Simple brushstrokes were used to depict forms of rocks on the left, green lotus rises in its natural form depicted using centered brush. Sweet flag below the leaves were sturdy and natural, depicted using the techniques in cursive script. Lotus flower was painted in white with dried brush and sturdy outline. Saturated ink was used to colour the flower, suggesting the humidity under the rain. This work used the skills from Gongbi and broad brushwork, creating a refreshing look of the lotus flower. Poem was written using dry brush and its style carries a historic tone. This work was painted by Pu at leisure, using bold brushwork and clean depiction of the flower, creating an elegant literati painting.