The so-called Mao long pen is actually a thatched pen, with long or short strokes, vigorous and powerful, suitable for writing Daewoo. This can also be said to be a great invention of Chen and a great contribution to the book industry.
Most of Chen Xianzhang's calligraphy works handed down from generation to generation are written with Mao Long pen, which is a rare treasure. Chen Ye is a calligraphic art theorist. When summing up his calligraphy experience, he said: Every time you give a book, you should be quiet, let it go, and stay. This is why I am wonderful. If you succeed, you will be surprised, but you won't worry, so I will be quiet. The law has no nursery, and the boss has no flow; The more clumsy, the more skilled, the more rigid and flexible. The shape is standing and running, and it is full of strangeness.
The flexibility of brushwork, the tendency of combining rigidity with softness, and the novelty of the overall layout, which he treated calmly and dialectically with a unique way of thinking of Neo-Confucianism, endowed calligraphy theory with profound connotations. The vast majority of Lingnan calligraphers in later generations followed his theory and pursued his realm, thus forming the unique style of Lingnan calligraphers.
Chen Xianzhang's disciple Zhan Ruoshui also thinks that characters are paintings of the heart, and the artistic creation of calligraphy is "conveying the heart with paintings". Zhao, Xiao and Wang Xiangkui inherited the calligraphy style of Neo-Confucianism.
They don't care about books, and they don't care about the gains and losses of drawing little by little. They take the charm of calligraphy and the overall sense of words, giving people a simple and harmonious aesthetic feeling.