2. Calligraphy incorporates the perseverance, boldness and enterprising spirit of Confucianism, and also includes the emptiness, dispersion, quietness and leisure of Laozi and Zhuangzi, and often omits the worldly glitz in brushwork in order to get a real ethereal taste.
3, watch its strength without losing, show its posture without boasting, and the handwriting is flowing.
4. Du Shijie's bone strength and calligraphy and painting are slightly thinner. If there are no leaves in the frost forest, the waterfall will fly.
5, floating like a cloud, agile as a dragon. Iron book silver hook, the most ancient and modern.
6. Huai Su, like a strong man wielding a sword, looks moving, but he twists and turns.
7. Pick up the pen and daub it a few times, and a flying dragon will pop up on the paper. The dragons he painted are lifelike, magnificent and varied. Chen Rong often doesn't draw the whole dragon, or the dragon's head, or the dragon's claws, flickering, as if to smell its sound, as if to see its shape, and splashing ink into clouds, spraying water to melt the fog, which is wonderful, and it is called "Suo Wenglong" (as Chen Rong said).
8. The glyphs are staggered, big and small, open and closed, and the line thickness changes obviously, with ups and downs. The last line is crooked, so crooked that it is almost overwhelming. But this tendency is not blunt, but more freedom, which embodies his arbitrary side and has his own style. Chen Rong took a steep stance, and his writing was oblique or positive, heavy or light, with a beauty of "she began to vent her anger like a thunderbolt". He writes quickly, with a strong pen and great effort.