Hu Lancheng, as a literati in troubled times, is not famous for his calligraphy. Hu's calligraphy was praised, probably after his exile in Japan. Mei Tian, a Japanese pioneer, published a book for him, The Book of Hu Lancheng, which is the only Hu Lancheng calligraphy collected and published. His Japanese friend Yoshiro Yasuda prefaced it, and An Tian praised Hu's calligraphy in the preface: "Hu's book is a masterpiece that reveals his personality. There is majesty in elegance, rigidity inside and softness outside, and the beauty of shyness is sometimes gorgeous, which makes people miss the eternal loneliness of life. " Yasunari Kawabata is a famous Japanese novelist, but he is also good at books. His calligraphy is interesting and unique. Obviously, it can't be said that it's just a compliment to Hu Lancheng's calligraphy. Hu Lancheng's calligraphy that we can see is basically his works after he went to Japan, and his calligraphy style is greatly influenced by Kang Youwei. Hu Lancheng himself wrote an essay on calligraphy on 1969, which covered calligraphy, calligraphy, calligraphy and so on. The essay is not long, but it can be regarded as an outline of Hu Lancheng's own calligraphy aesthetics and creative theory.
Hu Lancheng believes that the correct brushwork and vulgar method are completely opposite, so to get the correct method, we must first get rid of vulgar meaning. In On Calligraphy, Hu Lancheng summarized Buddhism in three aspects: writing, writing and posture.