What achievements has Jin Nong made in calligraphy?

In calligraphy, Jin Nong advocated the simplicity of the study of North Monument, opposed the "pavilion style" of carving, and challenged the calligraphy style of later learning. One of his "Lu Zhong Miscellaneous Poems" said: "It is a shame to be a calligrapher's handmaiden to learn Chinese characters because the internal history is negative and vulgar. Huashan flaky is my teacher. "

Jinnong's calligraphy is the highest among official scripts. In the early years, Lishu began in the north of Xiacheng, and later saw the Huashan Temple Monument in Xiyue. He studied repeatedly and worked hard in this monument, so he became his own face at first. His official scripts around the age of 40 are all from Han steles, with straight strokes and strong brushwork. Since then, he has studied from Tianfa Monument and Guo Shan Monument, taking the characteristics of rigorous stippling and simple handwriting. After the age of 50, Jin Nong further strengthened his personal characteristics, cut off his hair to make a book, and made a font with wide horizontal drawing, thin vertical pen and long vertical font with a flat pen side, which was later called "lacquer book". Jin Nong's "lacquer book" is a unique calligraphy style formed by the combination of calligraphy, calligraphy and calligraphy. His "Lacquer Book", regardless of stippling, is mainly based on Fang Bi, pursuing the taste of knives and stones. When painting both ends horizontally, it starts from the tortoise horn and closes the pen vertically. It is densely structured, flat in length, often large and small, and often inclined. It uses thick black ink, which is strikingly similar to the silk book of Han bamboo slips unearthed in the Western Han Dynasty. To this end, future generations all admire his superhuman understanding and unique creativity in art.