Fu Shan's "Weeping Poems" volume, on paper, a total of 21 opens, each opening is 27.5 cm long and 24.3 cm wide, collected by the Shanxi Provincial Museum. This volume was written by Fu Shan after the death of his son Fu Mei in the spring of 1684, when Fu Shan himself was seventy-eight years old. There is an inscription on the front and a zhu seal on the back, which is well preserved and brilliantly inked.
The poems are a group of transcripts of Fu Shan's "Weeping Poems", which consists of 14 poems, and the style of the book is both true, grassy, and practical. It expresses the lament of the old man who is nearly eight sentences old for the loss of his beloved son and the desolation of his old age. The "Crying Poetry Book" is a genuine ink treasure that many calligraphy enthusiasts and researchers respect today.
Fu Shan's "Crying Poetry Book" has been praised as "one of the most brilliant cursive books of FuShan" for more than three hundred years, and is regarded as the gui table of calligraphy art, so that today there is a set of "Weeping Poetry Books" in Taipei, although some calligraphy historians still dispute the authenticity of the "Weeping Poetry Book" in Taipei, but regardless of its authenticity, the coexistence of multiple sets of "Weeping Poetry Books" in the world shows that people love, admire, recognize and affirm the sincere feelings in this calligraphy work.
Over the years, researchers of Fushan calligraphy have generally believed that the reason for the formation of Fushan's calligraphy style is that he is trying to deliberately pursue the aesthetics of "ugly" and "clumsy". Mr. Chen Zhenha's exposition is an authoritative representative: "Lao Tzu two thousand years ago had the saying 'great coincidence is clumsy'. Mason is not real, that is, a dialectical exposition of pre-Qin aesthetics. Three hundred years ago, Fu Shan developed the theory of Lao Tzu and openly put forward his aesthetic standards in the theory of calligraphy: "Rather clumsy than skillful, rather ugly than charming, rather fragmented than slippery, rather straightforward than arranged." To make such a declaration is to be a little bold. Ingenious, exquisite also; charming, Juan Xiu also; light and slippery, ethereal and free extreme also; arranged, deliberately operated a lot of sloppy also. Now Fu Shan came to a comprehensive denial, proposing his standard of ugly and clumsy beauty. (Chen Zhenlian, "Fu Shan Said: Ning Humble No Coincidence")
However, it is only a conclusion drawn from observing and analyzing Fu Shan's calligraphic works. This method of research may be applicable to any calligrapher, but the investigation of the reasons for the formation of Fu Shan's calligraphy style must not be limited to observing and analyzing Fu Shan's calligraphy works. Because Fu Shan is a special calligrapher, and even the only special person in the Chinese calligraphy circle for thousands of years. The real reason for the formation of Fu Shan's calligraphy style is by no means the effort to deliberately pursue the aesthetics of "ugly" and "clumsy", but from the lofty national integrity and strong spirit of rebellion.
For thousands of years, only two people, Fu Shan in the north and Zhu Yun in the south, in the face of foreign invasion and national peril, with lofty national integrity and strong spirit of rebellion, created the unique calligraphy style of Fu Shan (Zhu Yi Daoren) and the unique Chinese painting style of Zhu Yun (Bada Shanren).
Fu Shan lived in an era of turmoil in which foreign nations invaded and the nation was in danger. Zheng Zheng's iron bones, Haohao's righteousness, gangzheng, and unyielding death, Fu Shan's unique national integrity and fighter essence, in ancient and modern calligraphers, are probably only comparable to Yan Zhenqing of the Tang Dynasty. Since his youth, Fu Shan has been famous for his heroic righteousness, integrity and bravery, and a large number of historical materials have been recorded.