"Tiaoxi Fishing in Conghua" once said that Huang Tingjian said: "Follow people's plan to end future generations." He also said: "Articles are the most taboo." It can be seen that he has the ambition to open the way in literary creation. However, his social contacts are far narrower than those of Ouyang Xiu, Wang Anshi and Su Shi. Long-term study and life and a tendency to be divorced from reality forced him to choose a creative path to win in book knowledge and writing skills. He said: "Poetry wins high, and it must come from learning." (See "Prequel to Tiaoxi Fishing Hidden in Conghua") and said: "Lao Du wrote poetry and retired from writing, and there was no place for a word; Gai's descendants read less, and they made up their own words by talking nonsense. The ability of the ancients to write articles can really cultivate everything. Although ancient characters enter calligraphy, they are like a panacea. " (Answer to the Father of Hong Ju) You can see his tendency. So how to turn stone into gold from what the ancients said? It is based on the poems of predecessors, and it is changed and described in order to bring forth the old and bring forth the new. He called this practice "thoroughly remould oneself", "taking vulgarity as elegance, taking the old as new" and "taking corruption as magic". For example, Wang Bao described the beard of a bearded slave as a "bamboo on the far slope" in the Three Chapters of the Constitution. Huang Tingjian's poem "Wang Banzhi Er Yun" says: "If you are destined to fall, the poem will be empty." A further description of Wang's "Cool Wind in the Empty Valley" has a new meaning. For another example, according to Li Yannian's Song of Beauty, it is almost vulgar for later generations to describe beauty with "beautiful city" and "beautiful country". Huang Tingjian's poem "Random Thoughts on Two Rhymes of Liu Jingwen Ascending the Mountain and Looking at the Platform": "The public poem is as beautiful as a beauty, and it has become an unmarried city." The meaning is deeper, and it is in line with the elegance of these literati. These methods of using books and materials actually sum up the experience of poets since Du Fu and Han Yu. The difference between his admiration and the plagiarism of ordinary low-energy literati is that he avoids being familiar with the selection of materials and likes to find some obscure allusions and uncommon literals in miscellaneous books such as Buddhist scriptures, quotations and novels. In the use of materials, we strive to make amazing changes and avoid eating them alive. In order to be different from Quincy's poets, he deliberately made awkward sentences, gambled on dangerous rhymes, used hard words, and even abandoned the poet's effective artistic techniques of paying attention to rhythm harmony and bright colors. A poem like the following can better express his characteristics in this respect.

My poems are like Cao Cao's, too shallow to be a country; As a big country, Chu swallowed five lakes and three rivers. Yuefeng flute in Chibi, Yutang cloud window; Syntactic unity, forcing the city to obey my surrender. The withered pine falls into the ravine, and the waves beat it; Ten thousand cows can't be pulled forward, and the public is carrying it alone. Everyone laughs at the fact that the canal is not a body double; Look at each other with bare arms and worship the old man under the bed. The child doesn't know that the guest may be fat; Your husband, I want to buy a red wine jar.

-"Zi Zhan's poetry is wonderful all his life, the cloud is small and strong, and the second rhyme is the Tao."

This is a poem written by Su Shi. The first four sentences say that his poems are not as broad as Su Shi's. The twelve sentences in the middle describe Su Shi's appreciation of him, and at the same time show his arrogant character, like a withered pine falling in a ravine, pushed by the waves and led by thousands of cows. Four sentences say that his son may be comparable to Su Shi's granddaughter Ah Xun, which means that his poems are not comparable to Su Shi's. This is exactly what Jiangxi poets later said, "Fight hard, fight hard", and express their friendship with humor and ridicule. This poem, from the choice of words, sentence cutting to the layout of meaning, has become a familiar road for five-character poets since Jian 'an. However, compared with the poems presented by Cao Zhi to Ding Yi, Shen Yue to Fan Li, and Du Fu to Li Bai, Huang Tingjian's poems are striking and have amazing intentions, but they fail to effectively express his true feelings.

Of course, not every poem of Huang Tingjian, as an artistic master who initiated the poetic school, is so outspoken. When he was inspired by the reality and got rid of the habit of deliberate curiosity to a certain extent, he was still able to write some fresh and fluent poems, such as the following examples.

I went into the wilderness and died of hair spots on my temples. I was born in Qutang, sealed in advance. Jiangnan smiled and stood in front of Yueyang Tower to Junshan.

The wind and rain in Mitsue leaned against the railing, tying the ladies' twelve buns to the ladies. It's a pity that I can't face the lake, but I can only see Junshan in the Yinshan pile.

-"Climbing Yueyang Tower and Watching Junshan in the Rain"

Silly children don't do official business, and they rely on yat sen villa for quick things. Qian Shan has a vast sky, and Chengjiang has a bright moon. Zhu Xian is already a beauty, and her young eyes are chatting with wine. Wan Li returned to the ship to play the flute, which is why we made an alliance with Bai Ou.

-"Climbing the Express Pavilion"

The predecessors' comments on Song poetry have always been called Su Huang. Su Shi's poems are rich in weather, such as the Yangtze River, and have their own scenery. Huang Ting-jian's poems have a rigorous atmosphere, such as steep peaks rising from the ground, which is daunting and creates a different realm in art. However, Huang Ting-jian's achievements can't be compared with Su Shi's, because although his poems can get rid of stereotypes and form a style characterized by innovation, thinness and hardness, they still can't cover up the emptiness of his life content and his tendency to be divorced from reality.

The villain was originally formed in the Song Dynasty because of writers such as Ouyang Xiu, Mei, etc. At that time, facing the reality, they matched their political struggle with poetry, which reflected the wishes of the people to some extent. On poetry, Huang Tingjian said: "Poets are human beings. They are not forced to remonstrate with the court, complain about others, and be angry with their neighbors for scolding their seats. " He also said: "It is slander, aggression, leading the way, being targeted with a cloak, and being angry at the moment. Everyone thinks that poetry is a disaster, a loss of the purpose of poetry, not a mistake of poetry." Obviously, this cancels the fighting role of poetry, and the result is bound to be divorced from reality and one-sided pursuit of artistic skills, which deviates from the direction of poetry innovation movement. Huang Tingjian's calligraphy and small seal script are represented by Fang, Wang Elder's epitaph and Lunan Shi Yizheng's epitaph. Calligraphy is fluent and elegant. The big-character running script includes Huangzhou Cold Food Poem Volume and Postscript, Fu Bo Shenci Volume, Songfengge Poem, etc. , are vigorous and calm, showing the characteristics of yellow books. Cursive scripts include Li Bai's Memories of Time Past, Zhu Shangtie, etc. With gorgeous words and elegant brushwork. On the basis of inheriting Huai Su's cursive script, it shows the uniqueness of Huangshu. In addition, Huang Tingjian's calligraphy works include Tombstone of Boyi Shu Qi, Gongbei of the Ground Beam, Poems of Qingyuan Mountain, Longwang Temple, Ode to the Queen in the Title, etc.

There are 46 lines of poems, running script, ink and paper in Jingfubo Temple, each line has different words, * * * 477 words. The first traces are now in Japan. This poem post, dozens of lines, is easy to write, exquisite in brushwork, magnificent and stretching. Fan Chengda commented that "the calligraphy of the valley in his later years is great, so there is no resentment in the post, and the heart and hand are one, and the pen and ink are as desired." This post is a sober and thoughtful work, which has the characteristics of Huang Tingjian's calligraphy art and is the representative work of Huang Tingjian in his later years.