Masu Post, a fourth-year student in Sculpture Department of Maine Academy of Fine Arts, is very interested in ancient jade articles in China. He wrote an academic paper entitled "On Jade Articles of Shang and Zhou Dynasties in China", which discussed the nature of jade articles, the relationship between Yin and Yang in their surface structure and the eight diagrams in the Book of Changes. He said, "Most of my recent works are inspired by the ancient art of China. Traditional European sculptures are all solid or have solid internal structures, which occupy three-dimensional space. Different from this, my sculpture embraces rather than occupies space, and space itself is a part of my sculpture structure, which is my understanding of China's sculpture theory. Thinking more about the relationship between sculpture entities and space, and the relationship between internal space and external space, rather than just occupying space with sculpture entities, is an important topic I explore in sculpture. " Masu's sculpture "Untitled" is made of black thin steel plate and consists of three long strips, with a height of 1.9 m and a width of 0.45 m, forming a triangular column. Cut some horizontal bars with different lengths but equal heights from the long black steel plate. These light-colored hollowed-out stripes are in contrast with black, showing a set of floating horizontal line combinations, which are reminiscent of yin and yang gossip patterns. More interestingly, when the audience moves in front of this sculpture, those floating horizontal lines also change with the movement of the audience's line of sight, and the ethereal horizontal lines also change from time to time. In ancient China, people used different combinations of Yin and Yang and gossip to express their views on the universe. In Europe in the first half of the 20th century, mondriaan used the relationship and tension between the vertical line and the horizontal line to express his understanding of everything in the world. Maswu in the United States has the same effect, and "China people" are regarded as "foreigners". He borrowed the abstract factors from ancient China, and expressed modern people's thinking about the mystery of the universe that has puzzled mankind for thousands of years at the end of the 20th century. Another sculpture of Maswu, People, also draws lessons from China's calligraphy art. This is a sculpture made of mixed materials. Steel sheets similar to China's calligraphy strokes are connected end to end like cursive script, forming a cylinder close to the cylinder. Soft rubber expands and twists upward and outward in the column. At this time, the "rigidity" of steel sheet is similar to the "softness" of rubber, but it seems to compete with each other, giving people a sense of life. This work, in another form, embodies the contradictory and unified factors such as Yin and Yang, heaven and earth, life and death, rigidity and softness expressed by China's ancient Yijing gossip. Although Maswu didn't understand Chinese and China's calligraphy, he was moved by the abstract beauty of China's calligraphy. American abstract expressionist painter Pollock was also fascinated by China's calligraphy when he was young. Later, his splash-ink painting had obvious calligraphy meaning. Chinese characters such as "Man" can be clearly identified in this sculpture of Ma Wu. Moreover, in order to pursue the pen and ink flavor of China's calligraphy, he also irregularly polished the edge of each "stroke" to create a feeling that ink dripped on the paper.