The painting "Xi Shan Tu" (溪山图), or "Streams and Mountains," is a hallmark work by Xu Ben (徐贲), a pivotal figure in the late Yuan and early Ming transition. As one of the "Four Outstanding Talents of Suzhou" (吴中四杰), Xu Ben’s landscapes are celebrated for their scholarly elegance and profound spiritual resonance, bridging the gap between the expressive power of the Yuan masters and the refined aesthetics of the Ming.

In "Xi Shan Tu," Xu Ben explores the classic theme of living in seclusion. The work depicts a lush, dense mountain landscape where streams wind through hidden valleys, symbolizing the intellectual's retreat from a turbulent world. This literati ideal emphasizes a harmonious relationship between the human spirit and the natural world, where the act of painting is a form of moral cultivation rather than mere representation.

Xu Ben’s technical approach in this work is deeply rooted in the Dong Yuan and Juran tradition. He masterfully employs "Hemp-fiber strokes" (披麻皴) to create the soft, undulating textures of the mountain slopes, giving them a sense of organic life. His ink wash (水墨) technique is layered with extreme sensitivity, achieving a moist, atmospheric quality that suggests the humid air of the Jiangnan region. The contrast between the dry brushwork of the rocks and the fluid washes of the water creates a mesmerizing visual rhythm.

The composition of "Xi Shan Tu" follows a complex multi-layered perspective. The eye is led from the foreground ancient trees and tranquil streams, through the middle-ground mist-shrouded valleys, to the towering peaks in the distance. This "S-shaped" composition creates a sense of infinite depth, inviting the viewer to mentally wander through the landscape—a concept known in Chinese aesthetics as "Wo You" (卧游, or "armchair traveling").

Today, "Xi Shan Tu" is regarded as a quintessential example of the Suzhou School. It exemplifies the monochrome ink style that prioritized subjective emotion and calligraphic brushwork over realistic color. Xu Ben’s influence can be seen in the later Wu School painters, making this work a vital link in the evolution of Chinese landscape painting.