山水画创作是中国式古典审美法则的一种集中体现,所谓师法自然、天人合一,仁者乐山、智者乐水,作为中国画创作的根本旨归千百年来一以贯之,别无他法。绍宇之作山水,皆从太行、嵩岳、黄山诸奇峰叠嶂中写生取象,兼有北宗山水之雄奇与新安山水之隽秀,远峦邻岫,淡云流瀑,茅舍斜径,丛树浅草,其经营布置,似古非古,虚实相生,莽莽苍苍,朗润有致。或探其师承,盖宗仰王摩诘、荆浩、郭熙诸先哲,混迹于山阿溪泉,且行且止,栖心物外,无意筌蹄,讷于言而发于丹青,或仁或道,阴阳激荡,郁郁块垒,游戏笔墨。绍宇亦擅搜尽奇峰打草稿之能事,天地吾师,灵犀活水,不拘绳墨,不拾余唾,为天地山川写 The creation of landscape painting is a concentrated expression of Chinese classical aesthetic principles. The so-called nature of teacher-practice, harmony between man and nature, Leshan benevolence, wise men and music, as the fundamental purpose of Chinese painting, have always been the same for thousands of years and have no alternative. Shao Yu for the landscape, all from the Taihang, Songyue, Huangshan Qifeng stacked 嶂 sketches, both the magnificent landscape of the Northern Zong and Xin’an landscape Junxiu, distant Luan Xiu Xiu, light waterfall, hut slope diameter, Cong Shu Asakusa, its operating layout, like ancient non-ancient, the actual situation, vastness, Lang Runzhi. Or exploration of its division bearing, Gansong Yang Wang Momo, Jing Hao, Guo Xi Zhu Xianzhe, mixed in the mountains of A River Springs, and the line and stop, habitat thing, unintentional hoof, Or Road, yin and yang agitation, Yu block block, the game pen and ink. Shao Yu also good at making Qifeng draft drafted energy, world my teacher, consonance living water, unsolicited, do not pick up more than saliva, written for the world mountains and rivers