中文 
en 
The idea behind its creation was to combine the tablet with the book. The character structure is based on the Xi Zhai Song and the Guan Officer Stele. To prevent strokes from becoming flat, the lifting and pressing movements during stroke initiation and termination are more pronounced, enhancing the sense of flight. In the process of absorbing the spirit of Han dynasty calligraphy and the significance of Hanli, I integrated my own understanding, emphasizing the fusion of brush techniques; the brushwork primarily employs square strokes, with uniform thickness and rounded lines, consistent stroke order and momentum, slightly dynamic; the structure is not as square as the eight-part clerical script, but mainly rectangular, defined by this principle. The thickness of the strokes is slightly increased, with many intentional enhancements at the start and end points, making the work more flexible and vivid while retaining its weight; the composition has been altered to be lush, compact, and vigorous. In aesthetic orientation, we revere the spirit of Han dynasty clerical script and pre-Qin stone inscriptions, striving to embody this essence, writing freely without concern for craftsmanship.
Setting aside the poor craftsmanship, I place great importance on the concept of “the best results come from not striving for perfection,” which reminds me of Laozi’s notion of “eliminating metaphysical attachments.” To achieve this, one must transcend all one-sided desires, prejudices, and superstitions, maintain inner emptiness and tranquility, seek clarity as a mirror of the mind and profound spirituality, and thereby realize the observation of “the Dao”—“be empty and still, be sincere and steadfast”—to attain the aesthetic stance of “though possessing great righteousness, how could one not transcend?” Calligraphy is no different. Removing external ornamentation and restoring the original simplicity is undoubtedly a return to authenticity.