Huai Su and Zhang Xu, the masters of wild grass in Tang Dynasty, were called "drunkards". They often use the power of Dionysus to vent their obstacles. Therefore, their weeds are undulating and magnificent, like a river flowing thousands of miles.
Mr. Situyue has experienced a lot of ups and downs in his life, so his weeds works have relatively no big opening and closing and ups and downs. He also admitted that his cursive script lacked "impassioned and cadence" (A Letter from Situ Yue to Wang). Mr. Situyue's cursive script is more of a psychological state of breaking free from bondage and rushing out of the cage. His crazy grass is "dancing in chains"
Mr. Situ Yue's epigraphy can be traced back to three generations, but it also incorporates the romance and mystery of Chu Ci. His epigraphy works are thick with a pen, dignified with words and perfect in composition. Mr. Situyue skillfully integrated "bookish spirit" and "golden stone spirit" into seal script creation, and his works greatly embodied "truth", "goodness" and "beauty". The so-called "truth" means that grass follows the grass method and seal characters follow the seal method. I would rather not write or copy the words that are not in the inscriptions on bronze inscriptions. Occasionally, most of them have notes. The so-called "goodness" means kindness to every work. I wrote a sample before I created it. Unsatisfactory works never show people, and weeds are even less ferocious. "Beauty" is the composition beauty and charm of a work. Mr. Situyue is a student of western painting, and the composition of western painting plays a great role in the composition of his calligraphy works. In his youth, Mr. Situyue copied a large number of Oracle Bone Inscriptions rubbings in Lu 'an (the former residence of Liu Mingchuan, the first governor of Taiwan Province who once collected the giant knotweed whiteboard) and bound them into volumes, which laid a solid foundation for Oracle Bone Inscriptions's later creation.
Whether making grass or seal cutting, Mr. Situyue likes to break ink with water, which makes his works rich in ink color, showing a strong contrast between shade and dryness. This application of China's traditional painting ink method to calligraphy creation appeared in the Ming and Qing Dynasties. In his creation, Mr. Situyue further played the role of adding ink to dry pen, which has the characteristics of "moistening things in the spring rain and cracking the autumn wind", adding more highlights to his works.
Mr. Situyue is good at printing. He tried to digest China seal and ancient seal, and also incorporated the composition of weeds and auspicious characters, forming his own seal style with exquisite seal cutting, steady knife cutting and changeable composition. According to the date of 1943, the first seal engraver "Situ Yue", he didn't leave many seal engravings in his life. Only from his own printed pamphlet "Catch the Knife Collection" and the works in "Anhui Modern Seal Carving Collection" published by Anhui Fine Arts Publishing House, we can draw the following conclusions: he is familiar with stone carvings and uses interleaving, shifting and wandering.
Situ Yue's calligraphy thought is mainly embodied in cursive script Ritual of Ricks, Brief Discussion on Calligraphy Innovation and Examples of Composition. It can be seen from these articles that he dares to criticize the theory of ancient books. For example, "cursive script is in a hurry", "cursive script is the most difficult" and "ingenious composition and deification of names" (see cursive script Rex Festival).
Secondly, he dared to criticize ancient and modern calligraphers, and even dared to deny himself. For example, criticize Deng and Shutong, and criticize Guo Moruo and. He acknowledged the shortcomings of his brushwork (posture and strength), and realized more clearly that he must "write more, read more and think more", and put forward his opinion on the lyricism of cursive script, that is, to pursue "impassioned and cadence". For the "modern calligraphy" that appeared in the 1980s, Situ Yue also put forward his own views. He pointed out: "Pursuing the interest of pen and ink, creating majestic momentum, and turning books into paintings" (On Calligraphy Innovation) are all so-called "innovations" that are divorced from tradition. This kind of innovation is passive water, castles in the air, unattainable. For imported calligraphy, Situ Yue treated it dialectically and never rejected it.