Sha Manweng's master of seal script inherited Xiao tui, but the creative method and aesthetic orientation of his works are different from those of Xiao Youming. In the system of seal script, Xiao Tuiwei, his teacher, did not write Oracle Bone Inscriptions all his life, but Sha Manweng did, reaching a high level of ethereal spirit. Although Xiao Tuiyu dabbled in Da Zhuan, he didn't go deep into it, focusing on Xiao Zhuan, while Sha Manweng dabbled in calligraphy and seal script. Write Oracle Bone Inscriptions, for example, "In the past, some old calligraphers also wrote Yin Ruins (Oracle Bone Inscriptions), which were generally as thick and thick as Zhong Ding's inscriptions, ignoring the characteristics of Yin Ruins, that is, they carved Yin Ruins on tortoise shells and beasts' bones, so-called' book carving', and the people who carved them also carved them. It is necessary to deliberately express the taste of knife carving, and strive to write straight and powerful, not heavy and balanced, which is different from ordinary ancient hairpin or Qin Zhuan. " He said, "In recent years, I have been exploring the art of calligraphy, such as brush, seal, official script, minute, line and other calligraphy styles, which not only pay attention to the conclusion of characters, but also pay more attention to the composition of seal script and the change of ink use. In a work, there is a clear and strong contrast between the size of words and the dryness, wetness, consistency and lightness of ink color, which makes it have charm and change, rather than being dull and lifeless. " It is this conscious aesthetic pursuit that makes Sha Manweng's art enter a natural and ethereal realm. If we can clearly see Xiao Tuichang's shadow in the horizontal scroll and banner of 1979 "Practice is the only criterion for testing truth", Shaman Weng also admits that "before I was 60 years old, my seal script was very similar to Xiao's, but now it is different." Then, the seven-character couplet of seal script made at the age of 87 and the two seal scripts made at the age of 88 have been completely transformed into Manchu family law. This is exactly what he said: "For people engaged in the study of calligraphy and painting art, whether they are old, middle-aged or young, especially the elderly, the most valuable thing is that they are unwilling to be conservative, do not stick to the rules, keep exploring, be brave in pioneering, strive to break through the old model, and have the spirit of continuous progress."
In fact, in his pen and ink world, the handwriting of the official seal is like the perfect fusion of water and milk, which is difficult to distinguish. After long-term practical exploration and rational thinking, Sha Manweng realized the change of seal script at the age of seventy. For decades, he wandered in the Three Dynasties and the Han Dynasty, making friends with Zhong Ding, bamboo slips and silks, imperial edicts, implements, rubbings and tile scriptures, organically integrating the brushwork of seal script and cursive script into official script, and reconciling the natural innocence of bamboo slips and silks with the rich and simple atmosphere of official script. He made a bold attempt in line quality, dared to use the dry pen carefully used by the ancients to make the lines moist and dry, tried hard to chase the feeling of smooth and muddy hair, and showed the infectious line beauty with his "rustling" pen. This artistic language, which can only be seen in cursive script, fully shows Sha Manweng's artistic personality. Now, when we review the development of official script in the past 100 years, if Yu Yue, Wu Changshuo and Shen are the first generation of representative calligraphers, and Huang Baoyu, Lai Chusheng and Wu Zifu are the second generation of representative calligraphers, then Sha Manweng and Lu, Xiao Xian, Wu Jinxian, Song, Sun Qifeng, Shen Dingan,