溥心畬之父载滢为奕訢次子。溥心畬的长兄过继给了伯父载澄，袭了王爵；排行老二的溥心畬与三弟溥德奉母定居北京。溥心畬出生满5个月蒙赐头品顶戴，4岁习书法，5岁拜见慈禧太后，从容廷对，获夸“本朝灵气都钟于此童”；6岁受教，9岁能诗，12岁能文，被誉为皇清神童。溥心畬幼年除于恭王府习文，亦在大内接受“琴棋书画诗酒花美学”培育。辛亥革命后，隐居北京西山戒台寺十余年，再迁居颐和园，专事绘画。1924年迁回恭王府的萃锦园居住，涉足于社会之中，开始与张大千等著名画家往来。两年后，他在北京中山公园水榭，举办了首次书画展览，因作品丰富、题材广泛而声名大噪，获评“出手惊人，俨然马夏”。1928年应聘赴日本京都帝国大学执教，返国后于北平国立艺专沐雨春风，其后又与夫人罗清媛合办画展，再度名震丹青，被公推为“北宗山水第一人”。1932年，溥仪在“满洲国”当了伪皇帝，溥家兄弟趋之若鹜。溥心畬却拒任伪职，并以一篇著名的文章《臣篇》痛斥溥仪“九庙不立，宗社不续，祭非其鬼，奉非其朔”，继而怒骂这位堂弟“作嫔异门，为鬼他族”。

1924年冬宣统出宫后，溥心畬遂与溥雪斋（号松雪），溥毅斋（号松邻），关松房（号松房），惠孝同（号松溪）等创立了近代著名国画团体松风画会，自号“松巢”。松风画会是京津画派的主要成员，迄今已有近90年的历史。

1949年10月18日，新中国成立不久，溥心畬藏在一艘小船里，从上海冒险偷渡至舟山群岛（当时舟山仍为蒋军所据），又从舟山辗转赴台，并于台湾师范大学执教，为贴补家用，

亦曾在自宅开班授徒、至亚洲各国讲学，并以愧对前清先祖为由，拒绝了第一夫人宋美龄的拜师习艺邀约。在其自传中，溥心畬提及居台期间，曾为堂弟溥杰夫人回大陆夫妻相聚之事与寻找战后失落的末代皇后婉容之下落，数度赴日；由于溥杰之妻乃日本昭和天皇舅妈之女，故他赴日时曾住居日本皇宫，还与天皇聊聚旧事；让他印象最深刻的是，昭和天皇曾问他：“身为亡国的贵族有何感想？”

1959年，台湾历史博物馆特地为他举办个展，展出作品多达三百八十幅。1963年11月溥心畬患鼻咽癌在台北病故，年仅68岁，葬于阳明山。1991年溥心畬长子溥孝华病危，家宅遭歹徒入侵并杀害其妻，由于溥孝华早已将其父遗作藏于壁内，致歹徒遍寻无所获；溥孝华去世后，遗物处理小组乃将溥氏遗作一分为三，分别交由文化大学华冈博物馆、台北故宫博物院与历史博物馆托管。

溥心畬的这些珍宝包括书法175件、绘画292件，以及其他收藏书画13件，砚石、印章、瓷器等58件，总计543件。华冈博物馆托管的为大小画作、各体书法、笔记、注疏及手稿等百馀件；故宫托管的则大作、小品、立轴、长卷俱全，并包括难得的鬼趣图册、西游记册与自绘瓷瓶、磁盤和四小幅自绘漫画，这是溥心畬在国外期间与人沟通的随笔之作。除了台北，吉林省博物馆也拥有不少溥心畲的传世作品；北京故宫博物院镇院之宝的中国现存最早的传世墨迹陆机的“平复帖”及收藏于美国大都会艺术博物馆的唐代韩干“照夜白”，据传都曾是溥心畲的旧藏。

溥心畬得传统正脉，受马远、夏圭的影响较深。他在传统山水画法度严谨的基础上灵活变通，创造出新，开创自家风范。溥心畲的清朝皇室后裔的特殊身份使他悟到荣华富贵之后的平淡才是人生至境，因而他在画中营造的空灵超逸的境界令人叹服。《光宣以来诗坛旁记》云，“近三十年中，清室懿亲，以诗画词章有名于时者，莫如溥贝子儒。……清末未尝知名，入民国后乃显。画宗马夏，直逼宋苑，题咏尤美。人品高洁，今之赵子固也。其诗以近体绝句为尤工。”

 溥心畬天资颖悟，用功又勤，因此虽然在比常人更多不利因素的压力下，他仍有极高的文采与艺术成就展现。他自许生平大业为治理经学，读书由理学入手及至尔雅、说文、训诂、旁涉诸子百家以至诗文古辞，所下功夫既深且精，因此不免视书画为文人馀事。这使他毕生未能将全付创作精力投注于绘画之中，然而这虽是他的不足，却也因此使他的画风露出一种高雅洁静的人文特质，为常人之所不及。

溥心畬的画风并无师承，全由拟悟古人法书名画以及书香诗文蕴育而成，加以他出身皇室，因此大内许多珍藏，自然多有观摹体悟的机会。他曾经收藏一件明代早期佚名画家的山水手卷，细丽雅健，风神俊朗，俱是北宗家法，一种大气清新的感觉满布画面，溥氏的笔法几全由此卷来。因此其所作山水远追宋人刘李马夏，近则取法明四家的唐寅，用笔挺健劲秀，真所谓铁划银钩，将北宗这一路刚劲的笔法──斧劈皴的表现特质阐发无馀，并兼有一种秀丽典雅的风格，再现了古人的画意精神。

观察溥心畬的作品时，在画面上的任何一个部位，无论在表现的技法、形式、以及意念上，那种文人心灵、鱼樵耕读与神趣世界的向往，还有远承宋人体察万物生意，与自然亲和的宇宙观及文化观，皆可谓完全谨守传统中国文人精神本位﹝农业社会的文化结构﹞，而拒绝了与现代世界﹝工业社会之文明结构﹞沟通的可能。然而他的书画作品却并未落于古典形式的僵化，而有其生命内涵的真实与精采，只因他的世界本来如此。

从溥氏外在表现的艺术形式上来看，他似乎并没有较新颖不凡的创见。然而艺术的创造性并非仅著眼在外在形式上的考量，赋予旧形式之内涵有新的生命诠释，则有另一层重要的创作意义，却很难由粗略的表面观察所能认知。就这点而言，民国以来的艺术史研究可谓并未给予溥氏应得之评审。

然而在时代的意义上而言，溥心畬亦代表了传统中国知识份子﹝文化﹞在面对世界新文化转型时众多反应中的一种典型﹝价值取向﹞。以溥氏的背景养成来看，即使他早年曾有留学欧洲研习西学的背景，恐怕也不会使他像徐悲鸿一样，扮演一个积极寻求改革与沟通中西文化的角色。造成这样的原因，一方面固然来自于他对传统文化中，高度的智慧与价值有深切的体悟与认同；另一方面则多少由于知识份子面对西方强势文化冲激时，高傲自尊之本位表现。这种坚持文化道统的立场，虽可视为极端的保守主义，对感应时代的开创性上或有不足，但在另一层重要的意义而言，他却保存了一个传统时代的人文精神与价值延续，这使得他的後继者在现代的人文精神与新画风发展得以成为可能。

溥心畬行草学二王、米芾，飘洒畅酣，他主张树立骨力，强调书小字必先习大字，心经笔法，意存体势，如此书法方能刚健遒美，秀逸有致。其小楷作品金刚经用笔意境高古，气韵生动，堪称绝妙。溥心畬不仅书画好，且从小即通诗词及典籍，晚年常对弟子说，称他画家，不如称他为书家，称他为书家，不如称他为诗人，可见他对自己诗心的看重。

 《松山茅屋图》

这是一幅罕见的微型山水，却具有大画的气势。近景一角山石由浓重的解索皴写成，再染以青绿；中景绘有一堵探身而出的崖面，上面有两株青松和几间茅亭，室内空无一人，富有原任韵致；后面仍是青山伴依，山峦顶端用雨点皴点簇，接近于写意花鸟画里用墨点或色点的笔法；色彩上运用了青绿和赭石的渐变。构图虽然注意拉开了空间中的三个层次，但不像宋元山水那样给人自足的感觉，而是由明显的截取感，使人们似乎同时望见了条幅之外层叠的群山。这种切割的感觉是画家精心提炼的结果，也是画面精到之处。山石、松树、茅屋是溥心畲绘画中常见的要素，而且往往是山空屋闲，不见人烟；与其说这是一种古意的体现，倒不如说是画家在乱世之中所感到的一种虚无。与古人相比，人们距离纯粹的大自然是越来越遥远了。溥心畲的一生也是在纷乱的历史进程中漂泊流离，但是他始终保持了一份向往山林的隐逸之心，并以此作为乱世之中特有的精神排遣，是他心灵歇息的处所。正是这种感受和需求使得他的作品和一般的盲目复古之作有着本质上的区别，显得感人尤深。

溥心畬的画在笔法上具有北宗的厚重古朴，而在意境上却显示出南派的萧远淡泊。所谓的“宁静以致远”就是描绘的这样一种感受。然而“文章千古事，得失寸心知”，从画幅中深邃稳健的风格与清雅淡逸的意境之间的交织中，我们终能体会到画家旷阔高深的情怀。

 Pu Xinshe's father, Zai Yong, is the second son of Yixin. Pu Xinshe's elder brother succeeded his uncle Zai Cheng and attacked the king. Pu Xinshe, the second in line, and his third brother Pu De Fengmu settled in Beijing. Pu Xinshe was born at the age of 5 months and was gifted with head dress. She studied calligraphy at the age of 4. At the age of 5, she visited Empress Dowager Cixi and was praised as "the spirit of this dynasty is in favor of this child". She was taught at the age of 6, poetry at the age of 9 and literary at the age of 12, and was praised as a child prodigy of the emperor's purity. Pu Xinshe received the cultivation of "aesthetics of piano, chess, calligraphy, painting, poetry and hops" in her childhood besides Gong Wangfu idioms. After the Revolution of 1911, he lived in seclusion at the Jietai Temple in Xishan, Beijing for more than ten years, then moved to the Summer Palace, specializing in painting. In 1924, he moved back to Huijin Garden of Gongwang Palace to live in. He set foot in the society and began to communicate with famous painters such as Zhang Daqian. Two years later, he held his first painting and calligraphy exhibition in Shuixie, Zhongshan Park, Beijing. He was well-known for his rich works and wide subjects. He was praised as "amazing, just like Maxia". In 1928, he was appointed to teach at Kyoto Imperial University of Japan. After returning home, he bathed in the rain and spring breeze at Peiping National Art Institute. Later, he held a painting exhibition with his wife, Luo Qingyuan. He was once again famous as "the first person in Beizhong Mountain and Water". In 1932, Puyi became a puppet emperor in Manchukuo, and his brothers flocked to him. Pu Xinshe refused to be a puppet, and denounced Puyi with a famous article "minister" as "nine temples do not stand, the clan community does not continue, offering sacrifices to non-ghosts, worshipping non-shuo", and then scolded the cousin "as a different door, for ghosts and other races".

After Xuantong left the palace in the winter of 1924, Pu Xin She Sui and Pu Xuezhai (No. Songxue), Pu Yi Zhai (No. Song Neighbor), Guan Songfang (No. Songfang), Hui Xiaotong (No. Songxi) founded the famous modern Chinese painting group Songfeng Painting Fair, which was named "Song Nest". Songfeng Painting Club is a major member of Beijing-Tianjin Painting School. It has a history of nearly 90 years.

On October 18, 1949, shortly after the founding of the People's Republic of China, Pu Xinshe was hiding in a boat and ventured from Shanghai to Zhoushan Islands (which was still the base of Chiang Kai-shek's army at that time). He traveled from Zhoushan to Taiwan and taught at Taiwan Normal University to supplement his family.

He also taught classes in his own house and lectured in various Asian countries, and refused the invitation of First Lady Song Meiling to visit teachers and learn art on the grounds that she was ashamed of her ancestors of the former Qing Dynasty. In his autobiography, Pu Xinshe mentioned that during her stay in Taiwan, she had gone to Japan several times for the reunion of her cousin Mrs. Pu Jie's husband and wife in mainland China and for the search for the last lost queen after the war. Because Pu Jie's wife was the daughter of Japanese Emperor Zhao and Emperor's aunt, he lived in the Imperial Palace of Japan when he went to Japan and talked with Emperor Tian about the old events. What impressed him most was that Emperor Zhao and Emperor Tien once asked him, "What do you think of being a nobleman in the ruined country?"

In 1959, the Taiwan Museum of History held a solo exhibition for him, with 380 works on display. Pu Xinshe died of nasopharyngeal carcinoma in Taipei in November 1963. He was only 68 years old and was buried in Yangmingshan. In 1991, Pu Xinshe's eldest son, Pu Xiaohua, was critically ill and his house was invaded by gangsters and his wife was killed. Because Pu Xiaohua had already hidden his father's legacy in the wall, the gangsters searched for nothing. After Pu's death, the heritage disposal team divided Pu's legacy into three parts, which were handed over to the Huagang Museum of the University of Culture, the Taipei Palace Museum and the calendar respectively. History Museum Trusteeship.

Pu Xinshe's treasures include 175 calligraphy, 292 paintings, 13 other collections of calligraphy and paintings, 58 inkstones, seals and porcelain, totaling 543 pieces. The Huagang Museum hosts over 100 pieces of paintings, calligraphy, notes, notes and manuscripts; the Imperial Palace Museum hosts masterpieces, sketches, vertical shafts and long volumes, including rare ghost books, travel books and self-painted porcelain bottles, disks and four small self-painted cartoons, which Pu Xinshe communicated with people during her stay abroad. Essays. In addition to Taipei, Jilin Museum also has a lot of Pu Xinshe's handed down works; the Pingfu Tie of China's earliest handed down ink land machine and Han Gan's "Zhao Yebai" of Tang Dynasty collected in the Metropolitan Museum of Art in Beijing Palace Museum are said to have been Pu Xinshe's old collection.

Pu Xinshe was influenced deeply by Ma Yuan and Xiagui. On the basis of rigorous traditional landscape painting, he flexibly adapted to create new style and create his own style. Pu Xinshe's special status as a descendant of the Qing Dynasty made him realize that life's ultimate state was the dullness after glory and wealth. Therefore, the ethereal and superb realm he created in his paintings is amazing. "Records of the Poetry Circle since Guangxuan" says, "In the past 30 years, the Qing Dynasty's relatives, known for their poetry, paintings and inscriptions, were Mo Rupu's Confucianism. Not known in the late Qing Dynasty, it became obvious after it entered the Republic of China. Ma Xia, the painter, approached the Song Garden and wrote about you Mei. Nowadays, Zhao Zigu is a man of noble character. His poems focus on the Close-style quatrains.

Pu Xinshe is talented and intelligent, diligent and diligent, so although under the pressure of more unfavorable factors than ordinary people, he still has a very high literary and artistic achievements. He administered Confucianism with his great career in life. He studied from Neo-Confucianism to Erya, Shuowen, Xueji, other schools of thought and even ancient poetry. His efforts were profound and exquisite, so he could not help but regard painting and calligraphy as a residual work of scholars. This makes him fail to devote all his creative energy to painting all his life. However, although this is his shortcoming, it also makes his painting style show a kind of elegant and quiet humanistic characteristics, which is beyond the ordinary people.

Pu Xinshe's painting style has no inheritance from his teachers. It is all derived from the imitation of ancient calligraphy, paintings, calligraphy, poems and prose. He was born in the Royal family. Therefore, there are many treasures in Da Nei. Naturally, there are many opportunities to imitate and comprehend them. He used to collect a handwritten scroll of the early Ming Dynasty's famous painters, which was elegant, beautiful and handsome, all of which were the Northern Sect's family law. A fresh atmosphere filled with pictures, from which Pu's brushwork almost all rolled up. As a result, his landscape pursued Liu Lima Xia of the Song Dynasty. Nearly, he took Tang Yin of the four Ming Dynasty as his writing style. With his strong and vigorous pen and so-called silver hook, he expounded the expressive characteristics of the Northern Zong Dynasty's vigorous brushwork, axe-splitting, and also had a beautiful and elegant style, which reproduced the spirit of the ancients'paintings.

When observing Pu Xinshe's works, in any part of the picture, no matter in the techniques, forms, and ideas of expression, the yearning of the literati's soul, fish farming, reading and the world of divine interest, as well as the cosmology and cultural outlook of the Song Dynasty, which inherits the Song Dynasty people's observation of all things and is compatible with nature, can be said to fully adhere to the traditional Chinese culture. The human spirit standard [the cultural structure of agricultural society] rejects the possibility of communication with the modern world [the civilized structure of industrial society]. However, his paintings and calligraphy have not fallen into the rigidity of the classical form, but have the truth and exquisiteness of its life connotation, just because his world is so.

From the artistic form of Pu's external expression, he does not seem to have more novel and extraordinary ideas. However, the creativity of art does not only focus on the consideration of external form, but also endows the connotation of the old form with a new life interpretation. It has another important creative significance, which can hardly be recognized by rough surface observation. As far as this is concerned, the study of art history since the Republic of China has not given Pu's due appraisal.

However, in the sense of the times, Pu Xinshe also represents a typical value orientation in many responses of traditional Chinese intellectuals [culture] to the transformation of the new world culture. From the perspective of Pu's background, even if he had the background of studying western learning in Europe in his early years, I am afraid that it would not make him play a role of actively seeking reform and communicating Chinese and Western cultures like Xu Beihong. The reasons for this are, on the one hand, his deep understanding and recognition of the high wisdom and value in traditional culture, and on the other hand, his arrogance and self-esteem as intellectuals face the impulse of strong Western culture. Although this stand of upholding cultural tradition can be regarded as extreme conservatism, which may be inadequate for the initiative of the induction era, in another important sense, he preserved the humanistic spirit and value continuity of a traditional era, which enabled his successors to develop their modern humanistic spirit and new painting style. It's possible.

Pu Xinshe, the second king of herbalism, Mi Fu, was free and smooth. He advocated the establishment of bone strength. He emphasized that small characters must learn big characters first, and that the mind script writing method and the intention of body gesture could only make the calligraphy strong and beautiful, elegant and elegant. His small Scripture Diamond Sutra has an ancient artistic conception and vivid charm, which can be called wonderful. Pu Xinshe is not only good at painting and calligraphy, but also at an early age, he used to talk to his disciples about poetry and classics. In his later years, he often said to his disciples that if he called him a painter, he would rather call him a calligrapher or a poet than a calligrapher, which shows that he attached great importance to his poetry.