"Cross like a thousand miles of clouds, vaguely tangible. Points are like peaks and falling rocks, but they are as real as collapses. Left like a rhinoceros. Fold like a hundred bows. Long live the withered vine. It's like hitting waves and thunder. Cross hooks are like ribs. "

Horizontal painting, like a thousand miles of clouds, is hidden in the sky, seemingly invisible, but actually tangible. Pointillism, like a stone falling from a mountain, sounds like a mountain crack and a rock collapse. Sketch: cutting off rhinoceros horn and ivory is as powerful as a knife. Folding paintings, like crossbows, are strong and powerful. Vertical portraits are as vigorous and powerful as vines that have withered for thousands of years. Painting is like crashing waves and thunder, with extraordinary momentum. Cross hook, like a strong crossbow, strong bamboo.

Wei Jin people talk about "strength of character" and "simplicity and preciseness", so "thin and hard" is beauty. Later generations advocate "satiety" and "fat strength", and have different understandings of "tendon", "bone" and "meat". However, "a book must contain spirit, qi, bone, flesh and blood, and a book cannot be made without it" is the consensus of calligraphers of all ages.

Wei Shuo believes that the high quality of calligraphy is "strength and strength", that is, strength and strength. Too much "meat" is inferior, but "ink pig" is bloated and unpretentious. Wei Shuo's contribution is that she introduced the theory of "tendon", "bone" and "flesh" into calligraphy theory, making it an aesthetic category of calligraphy, which opened up new ideas for the creation and appreciation of later generations.