Mr. Situ Yue's calligraphy art is unique and enjoys a good reputation at home and abroad, especially for his wild grass and bronze inscriptions. Mr. Wang studied Huai Su in cursive script at first, then Zhang Xu, and also dabbled in and studied Huang Tingjian, Zhu Yunming, Wang Duo, and even Wang Xizhi, Wang Xianzhi and Sun Guoting. In his later years, his cursive script opened up a new way in composition and ink method, forming his own convoluted and intertwined composition layout and superb and ethereal ink method characteristics. Mr. Wang thinks he is a careless scholar but not crazy. I think this may be related to Mr. Wang's rigorous academic attitude and Yu Bo's psychological state.
Huai Su and Zhang Xu, the masters of wild grass in the Tang Dynasty, were known as "drunkards". They often used the power of Dionysus to vent their obstacles in their hearts, so their wild grass was undulating and magnificent, like a river pouring down a thousand miles.
Mr. Situ Yue has experienced many ups and downs in his life, so there is relatively no big opening and closing and ups and downs in his wild grass works. He also admitted that his cursive script lacked "impassioned and cadence" (letter from Situ Yue to Wang Yelin). Mr. Situ Yue's cursive script is more of a psychological state of breaking free from bondage and rushing out of the cage. His wild cursive script is "dancing with shackles".
Mr. Situ Yue's epigraphy has been traced back to three generations, and it is also integrated with the romance and mystery of Chu's epigraphy. His epigraphy works are thick with a pen, dignified with words and perfect in composition. Mr. Situ Yue skillfully integrated "bookish spirit" and "golden stone spirit" into the creation of seal script, and his works greatly embodied "truth", "goodness" and "beauty". The so-called "truth" means that grass follows the grass law and seal characters follow the seal law. Words that are not in the inscriptions on bronze inscriptions would rather not be written than copied. Occasionally, most of them are annotated. The so-called "goodness" means kindness to every work. Before his creation, he wrote a sample, and his dissatisfied works never showed people, and his wild grass was even less ferocious. The "beauty" is the beauty of composition and charm of the work. Mr. Situ Yue studied western painting, and the composition of western painting played a great role in the composition of his calligraphy works. In his youth, Mr. Situ Yue copied a large number of rubbings of inscriptions on bones and stones in Liujiawei, Lu 'an (the old residence of Liu Mingchuan, the first governor of Taiwan Province, who once collected the white plates of Polygonum cuspidatum), and bound them into a book, which laid a solid foundation for the later creation of inscriptions on bones and stones.
Mr. Situ Yue likes to use water to break ink, which makes his works rich in ink, showing a strong contrast between shade, dryness and wetness. This application of China's traditional painting ink method to calligraphy creation appeared in the Ming and Qing Dynasties. Mr. Situ Yue further played the role of increasing ink and drying pen in his creation, which has the characteristics of "moistening the spring rain and cracking the autumn wind", adding more highlights to his works.
Mr. Situ Yue is good at printing. He tried to digest the Chinese seal and ancient seal, and also incorporated the composition of the wild grass and the auspicious words, forming his own seal style with exquisite seal cutting, steady knife cutting and changeable composition. From the time when the first party "Situ Yue" was carved in 1943, we know that he didn't leave many seal cutting works in his life. Only from his own printed booklet "Catch the Knife Collection" and the works in Anhui Modern Seal Cutting Collection published by Anhui Fine Arts Publishing House, we can draw the following conclusion: he is familiar with stone inscriptions, and uses interspersed, shifted, sideways and echoed.
Situ Yue's calligraphic thoughts are embodied in his cursive writing of Rex Sacrifice, a brief discussion on calligraphy innovation, and examples of structure and rules. It can be seen from these articles that he dared to criticize ancient book theory. For example, about "cursive script in a hurry", "cursive script is the most difficult" and "rules are clever and names are deified" (see cursive script Rex Festival).
Secondly, he dares to criticize ancient and modern calligraphers, and even more dares to deny himself. For example, criticism of Deng Shiru and Shu Tong, criticism of Guo Moruo and Lin Sanzhi. He acknowledged the shortcomings of his brushwork (posture and power), and realized more clearly that he must "write more, read more and think more", and put forward his opinion on the lyricism of cursive script, that is, to pursue "impassioned and cadence". For the "modern calligraphy" that appeared in the 198s, Situ Yue also put forward his own views. He pointed out: "Pursuing the interest of pen and ink, creating majestic momentum, and turning books into paintings" ("On Calligraphy Innovation") are all so-called "innovations" that are divorced from tradition. This kind of innovation is passive water and castles in the air, which is unattainable. For imported calligraphy, Situ Yue treated it dialectically and never rejected it.