他将浓郁的悲情引入碑志文创作，并成功地在碑志文中运用了“鹤”、“松”等意象，为悲情的生发营造适合的氛围。
He led pathos up to the writing of epigraph, and triumphantly used images like crane and pine to build the likely atmosphere.
其他署名的作品有《腊枝珍禽图》、《芙蓉锦鸡图》、《瑞鹤图》、《文会图》等多幅。
Representative works with his signature include Wild Birds on Wild Prunus, Hibiscus and Golden Pheasant and Cranes.
60年代曾师从长安画派创始人石鲁，方济众，蔡鹤汀、刘文西等研习中国画。
In the 60s, he studied Chinese painting from Shilu, Fang Jizhong, Cai Heting, Liu Wenxi, who were the initiators of Changan Painting Circle.
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