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"Book of Calligraphy", ink manuscript, written and inscribed by Sun Guoting. Written in the third year of Chuigong (687), cursive script, paper. 27.2 cm in height, 898.24 cm in width. Each paper has 16 to 18 lines, 8 to 12 characters in each line, 351 lines in total, more than 3,500 characters. More than 70 characters in the extended text, 30 characters in the second verse of "Han Mo Bo Ying", and 30 characters in the second verse of "Xin Bu Yan Jing". "Book of Calligraphy" had two volumes, upper and lower, in the Song Dynasty's inner court. After the lower volume was lost, only the upper volume is handed down.

In his decades of calligraphy practice, Sun believed that those who discussed calligraphy since the Han and Tang dynasties "mostly involved in superficiality, all of them described the shape of calligraphy externally, but were confused about its principles internally." Because he wrote a volume of "Book of Calligraphy" and commented on the use of brush, it was also called "On the Use of Brush" during the Tang and Song dynasties. The original copy of "Book of Calligraphy" has a long history of circulation. It was originally stored in the Song Dynasty's imperial palace and was stamped with "Xuanhe" and "Zhenghe". It was signed by Emperor Huizong of Song. Later, it was given to Sun Chengze, then to An Qi, and then to the Qing Imperial Palace. It was formerly stored in the National Palace Museum and is now stored in Taiwan. It is commonly known as the original copy of "Book of Calligraphy". A photocopy has been published. "Book of Calligraphy" is an epoch-making calligraphy treatise in the history of Chinese calligraphy. It puts forward his famous calligraphy view: "The ancients did not go against the times, and the present is not the same as the past", which laid the foundation for the theory of calligraphy aesthetics. His achievements in calligraphy art are unified with his achievements in calligraphy theory.

The Book of Calligraphy also has a high achievement in calligraphy art. Sun Guoting's calligraphy follows the "Two Wangs". Every stroke is standardized and has a strong sense of rules. It has the legacy of Wei and Jin Dynasties and has been highly praised by all dynasties. Song Mi Fu commented: "Guoting's cursive script "Book of Calligraphy" has a lot of Youjun style. The foot of the characters is close to the front and straight, which is Guoting's style. All the characters in the world called Youjun's calligraphy are Sun's style. All Tang cursive scripts have the style of the Two Wangs, and there is no one better than him." ("History of Calligraphy")

Zhu Luzhen of the Qing Dynasty said: "Only Sun Qianli's cursive script "Book of Calligraphy" is completely in the style of Youjun, and the more than 3,700 words are all in one breath, and the brushwork is well preserved. It is truly a treasure of cursive script." ("Shuxue Jie Yao")

Wang Shizhen said: "The calligraphy of "Shupu" is rich, mellow and mature, almost like the style of Shanyin Hall. Later it becomes unrestrained, with the momentum of a thirsty lion or a swimming dragon." However, because "Shugai" is too mature, it has also been criticized as "the style of the streets and alleys, thousands of papers are all the same, and tens of thousands of words are the same" (Shu Shu Fu).

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