Zhou Yongjian's official script is simple yet flexible, which mainly comes from "Taishan Jingshiyu" and "Four Mountains Cliff Carvings", which captures the momentum of its opening and the frankness of the bamboo slips. His brush strokes are mainly centered, soft yet strong, peaceful and simple, with a calm and relaxed style. The back of its shape seems to be supported by Buddhist and Taoist culture, and it has a somewhat immortal air. This is consistent with the fact that some official calligraphers wrote Han bamboo slips in abbreviations of the Han Dynasty. They imitated the Qing Dynasty official script and followed the Qing Dynasty official script. They used heavyness for thickness and simplicity for simplicity. Those who kept the old were confident, those who were elegant were self-sufficient. Those who made small changes were complacent. They emphasized form over quality and used dry brushes indiscriminately. There is an essential difference between those who destroy the writing skills and think they are naive and generous.
Zhou Yongjian's cursive writing is impressive, with the brush strokes and twists freely, using dry and moist ink alternately, like lines wrapped in cotton and iron, emanating a rich emotional world, containing tension and tenacity, without any tiredness or flow. The habit of slipping has been sublimated on the basis of taking seal script as its root. Investigating its origins, it stems from the system of two kings, who are well versed in the principle of using the brush more highly and using the sharp edge, using both concealment and exposure, using both sides and sides. The ink is rich in color, and the breath is close to that of Dian Zhang Zui Su. The form is mostly based on the round fan and the painting fighting method of the Song Dynasty. Its lines are full of musical rhythm, which to a certain extent transcends the aesthetics of Ming and Qing calligraphers.