Zhu Kemin's achievements and honors.

In Zhu Kemin's calligraphy, the official script is the most important, adopting solemn and vigorous methods such as Fang Heng, Gongge, Sangong Mountain and the school official tablet, as well as the free and heroic Ode to Shimen, the beautiful Cao Quanbei and the Yiying tablet. His brushwork is very similar to that of Deng Shiru. He transformed Li Shu with his personal aesthetic taste and developed into his own broad-minded style. It is different from Zheng Banqiao's "Seven and a Half Books" and Yi Bingshou's "Eight Books". It pursues a broad, implicit and quiet beauty with its own experience, life experience and spiritual cohesion. In his official script, the couplets of "strike poetry and read painting, plow bamboo and listen to pine and have vitality" reveal a kind of tranquility and leisure, such as the thin horizontal lines of "nurturing, planning, poetry and reading" and the thick lines of "living, living, listening and painting", showing the natural mentality represented by calligraphers' "unintentional Yoga Yu" and "standing everywhere". Square, not haggle over every ounce of official script in the silkworm head phoenix tail, dense and substantial body, steady and tall, with strong courage. Left and right regular script signed, wandering on both sides of the official script, harmonious and consistent. From the aesthetic point of view, this broad spirit is not beautiful, but magnificent, just like the magical artistic conception affirmed by Mencius: "Enrichment and brilliance are called greatness, greatness is called holiness, and holiness is called God without knowing."

At the same time, this exciting psychological experience can also be felt in Zhu Kemin's real books, running scripts and cursive works. His original works, movements and cursive scripts are all caused by the current wind, and he pursues the glory of Han and Tang Dynasties. In the Qing Dynasty, Bao wrote in "Answering the Twelve Questions of cursive script since the postscript": "Although the real book did not enter Jin, it changed flatly, so it was out of reach." Zhu Kemin's authentic books have the flavor of the Six Dynasties, and strive to be true without any affectation. Look at the album "Xiang Kun", which is open-minded, high on the left and low on the right, flattering on the side, dignified and serene, and implies ancient society. Calligraphy and cursive works are slightly inferior to official script, lofty, ancient, beautiful and magnificent, catching up with Yan's level. For a seat, he made the greatest effort in the manuscript and studied it repeatedly, which won him a deep understanding of the brushwork. As a calligrapher, Zhu Kemin not only caught up with the inscriptions in the Wei, Jin and Han Dynasties, but also went down to the famous posts of various legalists in the Song, Yuan, Ming and Qing Dynasties, and made a serious study of the "Song Sijia" post, striving to be like the sentence in the Book: "Write without stopping, write without engraving, and turn to pressure lightly, like flowing water and clouds, which will last forever." His calligraphy works are not noisy and secular, and he is still valuable as a literati in cloth.

Zhu Kemin's paintings are mostly based on ink, flowers and birds, and occasionally depict landscapes and figures. Zhu's paintings belong to the category of literati paintings, which are basically based on learning and cultivation. In addition, in painting style, he used folk painting for reference to express painting images, which is consistent with most painters in Ming and Qing Dynasties.