In Chinese painting, the depiction of plants came later than that of animals, and the portrayal of plants as an independent subject was even later. Initially, the depiction of flowers and other plants was mainly for decoration and embellishment, such as the numerous coffered ceilings, border decorations, lotus flowers, and other plant patterns on the Dunhuang murals, as well as the plant patterns on silk and lacquerware and other objects. However, when literati participated in painting, plants gradually became the main subject of expression. The literati painters pursued the expression of their emotions and imagination, and they did not have the profit-driven purpose. They did not have a solid foundation in form and exquisite form techniques.

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Therefore, when depicting subjects, they chose objects with relatively lower requirements for form, and plants could be depicted freely, without adhering to the likeness of form. Especially Su Shi's theory of "When discussing painting, focus on resemblance, which is seen in children's neighbors" cleared the obstacles for the literati who previously regarded painting as a difficult path. Ancient literati had elegant qualities and proud spirits, and when choosing painting subjects, they did not forget to express their spiritual connotations. Therefore, those plants that had both aesthetic value and could express the noble sentiments of literati became the objects for literati to express their emotions and express their intentions. The plum blossoms did not fear the cold and stood firm against the snow and wind, possessing the virtues of jade-like bones and ice-like skin; the orchids had a light and graceful appearance and faint fragrance in the secluded valley, symbolizing the high and elegant personality; the bamboo had an upright appearance and hollow center, representing a spirit of being open-minded and upright; the chrysanthemums did not compete with other flowers for beauty and bloomed alone in the late frost, among the withered flowers. These characteristics of the plants precisely represented the noble virtues and lofty sentiments of literati. Therefore, these four plants were hailed as the "Four Gentlemen". "The Four Gentlemen" as an independent subject emerged in the Tang Dynasty. Bamboo painting was relatively common in the Tang Dynasty. It is said that there were "Monk Mengxiu, Southern Song Li Po", etc. (The Detailed Record of Bamboo). The most famous one was Xiao Yue. Bai Juyi said that his bamboo painting "had no equal in the world". In his reply to Xiao Yue's "Song of Painting Bamboo", he praised: "Among plants, bamboo is difficult to depict. Throughout history, although there have been paintings, there are no similar ones. Xiao's brushstrokes are unique and true. Since the beginning of painting, there has been only one person like him." The development of "The Four Gentlemen" painting continued in the Song Dynasty, flourished in the Yuan Dynasty, matured in the Ming and Qing Dynasties, and there were dedicated painters specializing in this subject in each dynasty. From the 5th century's Xu Xi and Huang Cun, the Song Dynasty's Ma Lin, Wen Tong, and Yang Wuyao, the Yuan Dynasty's Ke Jiushi, Wang Mei, Wu Zhen to the Ming and Qing Dynasty's Wu School Painting School, Yangzhou Painting School, Chen Chun, Xu Wei, Shi Tao, Guan Qiu, and Yu Gu, and Wu Changshuo, etc., there were no shortage of masters in each generation.

Although "The Four Gentlemen" no longer has much of the spiritual connotations of traditional literati, as a means of learning traditional painting, understanding the methods of brushwork and ink application, and mastering the laws of form structure, plum blossoms and bamboo are the best starting practice subjects. Chinese painting is an art of lines and ink. Lines are the framework, and ink is the outer garment. In the long process of development, plum blossoms and bamboo have accumulated the essence of Chinese painting's form language. Throughout history, painters have summarized and generalized the representative brushwork and ink application methods based on the growth patterns of their roots and branches and the interlacing of their leaves, which are representative of the running lines, ink application, the general laws of running trajectories, the heaviness and lightness of brushstrokes, and the dryness and thickness of ink in Chinese painting. Through copying and learning plum blossoms and bamboo, one actually understands and learns the general laws of Chinese painting's form language. After mastering certain brushwork and ink application techniques, learning other subjects becomes much easier.

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