Hai Yue's famous sayings are the author's usual comments on books, which reflect the author's aesthetic thoughts on calligraphy. The author attaches great importance to the quaint nature of the Wei and Jin dynasties, advocates writing books with emotion, and criticizes "the former sages' comments on books are far-fetched, and are ingenious, such as' Tianmen in Yue Long, the tiger lies in the phoenix que'. "Let's resign, go too far in the law, it's no use to scholars. It openly declared war on the disadvantages of storytelling in previous dynasties. For the method of using a pen, white cloth, bones and muscles, posture, etc. , have put forward unique insights, such as "words should have bones, meat should be wrapped in tendons, and tendons should hide meat; "The post is arranged by Xiu Runsheng. There are good things in stability, and the risks are not strange; Old but not withered, moist but not fat. Alien is not expensive and bitter, but bitter is angry and strange; Your modeling is not expensive to do, to paint, or to paint into the vulgar; All words are morbid. " Comment on Ge Hong's "Tiantai View" flying white, as "the crown of Chinese characters, the first in ancient and modern times". Claiming: "When I was young, I couldn't start a family. People say that my book is a collection of ancient Chinese characters, which covers all the advantages and has always been made. Since I have been a family since I was a child, I don't know what my ancestors are. " This shows the joys and sorrows in the process from learning tradition to starting a family. Secondly, he said, "you can't learn stone carving, but it's not your own book if you write it yourself." : so, it is interesting to read the original. ""all big characters should be like small characters, and small characters should be like big characters. Chu Suiliang's fine print is like a big character, which was later passed down by his ancestors, with occasional wonderful people. I can't see big characters like small ones. " "When the world writes more big characters, it grabs the pen hard, and the words have no bones and muscles, making the round pen like steamed cakes, which makes people laugh. It is best to be as small as fine print, well prepared in front, and not deliberately affected. "This paper analyzes the relationship between stone carvings and original works, big characters and small characters, and the learning methods, emphasizing' eight sides of a word' and' eight sides'. These views are cherished by later scholars. However, when talking about the calligraphers and works of the previous generation, the author sometimes makes some derogatory remarks, such as commenting on Ou Yangxun's Daolin Temple, which is "cold and frugal", analyzing Liu Gongquan's Past tense, which is "disproportionate in size and exhausted in bones and muscles" and commenting that Liu Gongquan is not as good as Europe, and is the father of ugliness and evil faith. Since Liu Shi, there have been vulgar books. It is inevitable that arrogance is difficult to train. But his comments on people and books are outspoken, straightforward, unrestrained and unconventional, which has always been praised by calligraphers. Although they are demanding of their predecessors, they are better than those who specialize in flattery. Independent opinions on the aesthetic standards such as brushwork, brushwork posture, brushwork meaning, word disease and taboo, calligraphy art and other essential issues, especially calligraphy and calligraphy methods, can truly break away from the previous path.