In the mid-1950s, he created large-scale Chinese paintings such as Hundred Flowers (Inscription by Guo Moruo), Li Shizhen's Hometown, and New Appearance of Danjiang Reservoir together with other old, middle-aged and young painters. After that, he engaged in professional appraisal research of ancient calligraphy and painting.
He used to be a director, executive director and chairman of Hubei Calligraphy Association, participated in the establishment of Calligraphy Newspaper, served as editor-in-chief, editorial board member and consultant, and was also employed as an adjunct professor of Chinese painting, calligraphy and painting appreciation courses in Wuhan University, Hubei Institute of Education and Hubei Institute of Painting and Calligraphy.
Employed as honorary dean of China Huaxia Painting and Calligraphy Institute, Ningxia Yu Deshui Painting and Calligraphy Institute, Shandong Tianxiang Painting Institute, Cao Zhou Youth Painting and Calligraphy Institute, Yunnan Dianchi Painting and Calligraphy Institute, and honorary curator of Daqing Iron Man Art Museum; Senior art consultant of Henan Zhongyuan Painting and Calligraphy Institute, consultant of Hebei Beidaihe Painting and Calligraphy Institute, consultant of Jiangxi Gannan University, Gannan Calligraphy Association and Hubei Poetry Society, and honorary consultant of Suining Calligraphy Society of Taiwan Province Province.
His works include Introduction to Calligraphy Teaching, Outline of Calligraphy History in China (Cooperative Edition), Inscriptions and Postscripts of China's Painting and Calligraphy Poems, Introduction to Cursive Calligraphy, Copy of Bao Puzhai's Poems, Bao Puzhai's Zhu Yong Poems, and Complete Works of China's Hard Pen Calligraphers (specially edited).