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Since ancient times, theory of Chinese Painting has always emphasized the use of the brush. From this it is clear the importance the brush holds in the process of studying Chinese painting. It is the position of the author that the logic,’Chinese Landscape painting is not equal to painting’, mainly rests on measuring whether or not the use of the Chinese brush and ink together has been made exquisite. Thus it is the position of the author to deeply discuss the use of ’free brush’ technique and this method’s ability to break through stagnant pitfalls in ancient Chinese Landscape painting. According to theory, the ’free brush does not follow canons; it changes only to suit itself. The ’free brush’ is capable of releasing the outstanding and producing the strange and uncanny.’Thus, it is the position of the author that it is absolutely necessary to reaffirm the notion and use of ’free brush’ method within the realm of Chinese painting. The ’free brush’ is closely linked to several other notions that have preconditions. The ’free brush’ must be without restraint and this unrestricted state of momentum must come to fruition with the ’mind of its maker, only then can it be fluid and unstoppable. The heart and hand must be simultaneous allowing their painter to reach his natural state. Only then can the brush reach the ’immortal’ state of’Dao’. The way to reaching this ’Dao’ or ’immortal hand" is not one day in the making. Independent personality, rich emotional feeling, strong practical foundation and deep cultivation of ones interior self all influence this pursuit, this along with years of polishing and accumulating of ones experience and deposits of knowledge. So it is the argument of the author to propose that in the early stage of painting ’free brush’ is seen as the ’devil’. In the middle stage of painting,’free brush’ becomes perplexed, finally in the later stage of one’ s painting, the ’free brush’ becomes the ’immortal’. The ’free brush’ exemplifies the individual personality of the painter, portrays his inner feelings and reveals his erudite knowledge, all in an unrestrained state. In light of these points, it can be concluded in expounding the notion of ’Free brush" that this state of Chinese painting is a means to allow one to reach magnificent painting and is extremely important and even essential in regard to studying authentic tradition.