徐悲鴻的仕女造型多選剛強堅毅者，如春秋時護孤避亂的趙武之母莊姬，又或唐代筆記小說中俠女荊十三娘，與傳統中纖弱閨秀大相徑庭，但取材自唐人詩意中仕女畫，卻是別番情態，本幅即其顯例。畫家處理這類仕女畫，與傳統淵源較接近，除了輪廓線條及五官的勾勒略見西畫技巧外，如仕女體態婷立修長，纖手互搭，輕拈紈扇，處於細雨飄灑中，見弱不禁風之姿；而眼前微雨沾衣，落花墜地，身傍雙燕比翼翩翩，恰好對照出只影形單，幽怨之情，見於雙目含愁、朱唇閉合的臉上神色。這種寫意處理手法，極富浪漫色彩，若添畫家情感的宣泄，則更著重於詩情流露而非斤斤計較於物體真實性的描寫了。

        Xu Beihong's ladies' styles are more selective and strong, such as Zhao Wu's mother Zhuang Ji, who is in the Spring and Autumn Period, or the Tang Dynasty's note-writing novel, Xia Jingjing Thirteen, which is quite different from the traditional Chinese fiber weak show, but it is based on the poetry of the Tang Dynasty. The Chinese women's paintings are different from each other. This is the obvious example. The painter handles such a lady's painting, which is closer to the traditional origins. In addition to the outlined lines and the outlines of the five senses, the craftsmanship is similar to the western painting technique. For example, the lady's posture is long and slender, the hands are mixed, the fan is light, and the fan is in the drizzle. The posture is slightly damp in front of the eyes, falling flowers fall to the ground, the body is double-winged than the wing, just contrasting with the shadow-shaped single, resentful feelings, seen in the eyes of the eyes and the lips closed. This kind of freehand handling method is very romantic. If the painter's emotional catharsis is added, it will focus more on the poetry than on the object's authenticity.