The writing of Huaisu's "Kusun Tie" has the characteristics of spatial rhythm, that is, the interweaving and give-and-take relationship between characters has entered the intra-character space between two characters. Qiu Zhenzhong analyzed it as follows in "The Composition of Chapters" (1985): In Wang Xizhi's running and cursive works, "two or three characters in consecutive scripts have become a common phenomenon. Single characters that are not consecutive characters have random pauses, starts and stops when writing. The arrangement is flexible and changeable. This change in the rhythm of movement causes a change in the nature of the transition space between the two characters (the space within the character) - they begin to penetrate into the internal space of the single character, such as ' Send this ' in "Chu Yue Tie" , 'Send Letter', 'Go to the Moon', etc. This is how changes in time rhythm affect space rhythm"; "Through the development of Zhang Xu and Huai Su in the Tang Dynasty, Huang Tingjian in the Song Dynasty, Zhu Yunming, Xu Wei, Wang Duo and others in the Ming Dynasty. , development, this composition method forms another major trend in line with the single-character axis connection system. This composition method is characterized by breaking up the space within the characters and rearranging the rhythm of space. It seeks to change the rhythm of space and time on a new basis. Unification. This is a completely different basis from the single-word axis concatenation system." The above composition method is called "group line composition", and its typical state is such as Huai Su's "Kusun Tie".
In the "grouped line composition" system, the spatial rhythm is not restricted by single words at all, and can better adapt to the free changes in the rhythm of writing. It no longer uses single words as spatial rhythm paragraphs, but uses a group of continuous spaces with similar densities as spatial rhythm paragraphs. The work is composed of these rhythmic paragraphs with different densities. Paragraphs form a group of themselves in space, which is the origin of "grouping lines". This grouping does not necessarily correspond to the start and end of the strokes. When the spatial rhythm changes significantly, the strokes may still continue, which creates time. The misalignment of rhythm and space rhythm has always been a factor in maintaining the continuity and tension of the work. However, in the grouping line system, because the space rhythm is given full freedom, the time rhythm and the space rhythm may form a more complex opposition. "Xiang Yuanbian's postscript "Kusun Tie" says: "I only have one "Kusun Tie" collected by the Song Dynasty Secret Palace. His writing style is elegant and well-regulated, and does not go beyond the rules. It has been said in the past. The crazy monk is very puzzled. He hides the truth in the grass, contains the skill in the simplicity, and reveals the muscles in the bones. Seeing that he is named after Huai Su and hides the truth in his name, he can only understand it in his mind. How can we get a glimpse of the subtlety of the form by using dots and strokes? Scholars must use the remaining words to maintain their principles. This book is rare in the world and cannot be treasured. It was inscribed by Mo Lin and Xiang Yuanbian. ” (Page 82 of "An Essential Record of Ancient Calligraphy and Painting·Jin, Sui, Tang, Five Dynasties and Song Calligraphy" written by Xu Bangda).
Yongxuan of the Qing Dynasty wrote in "Bitter Bamboo Shoots Tie": "Thousand-year-old "Bitter Bamboo Shoots Tie" reveals the hidden truth. Eating meat has no trace, and there are descendants who participate in Zen. In the plains, people talk about hairpins and strands, and they have long history. Crown scarf. The relics are all sparse, but this is the only one that expresses the spirit."
Xu Bangda commented on "Bitter Bamboo Shoots": "The brush is round and vigorous, and the chopsticks are fine and not dry; the structure is beautiful. It is cautious and does not act arrogantly. It was modified out of the right army and became its own. There are also some Wang's Dharma books in it, such as "Chang Jia". There is no doubt that this volume is authentic." (Xu Bangda) Compiled "Essential Records of Ancient Calligraphy and Painting: Calligraphy of the Jin, Sui, Tang, Five Dynasties and Song Dynasties", 83 pages)
Zhu Guantian commented on Huaisu's "Bitter Bamboo Shoots Tie", "Eating Fish Tie" and other ink calligraphy, which are "close to the mind of Zen" , worthy of being a masterpiece of late calligraphy" (Chapter 3, Section 3, "History of Chinese Calligraphy Sui, Tang and Five Dynasties" by Zhu Guantian, Jiangsu Education Press, September 2007, page 120). "Bitter Bamboo Shoots Tie" is the earliest Buddhist calligraphy related to tea that can be tested, and it is also a product of Zen tea. The properties of bitter bamboo shoots and tea have many similarities with those in Buddhism and Taoism. Huaisu fully embodies the various connections between tea and Zen through calligraphy. "Bitter Bamboo Shoots" has a weak "crazy" posture, but shows a pure and relaxed attitude, with a quaint and indifferent mood.