Da Zhongguang's artistic achievements.

Da Zhongguang lived in the heyday of Shu Dong, but his calligraphy didn't keep pace with the times and broke away from Shu Dong's style. Moreover, he retired from the political stage (center) prematurely and lived in seclusion in the countryside, so his calligraphy never received due attention. At that time and later, he was rarely mentioned in the Book of the Early Qing Dynasty, and he was rarely mentioned with Jiang, Wang Tuigu and He Chao. It was not until the middle of the Qing Dynasty that his fellow countryman Wang Wenzhi (Qing Yu,No. Menglou) admired his calligraphy, and inferred that his books spared no effort, as a cloud says: Mr. Jiang Shui in my hometown has superb calligraphy, especially fine print. After self-liberation, Mr. Gai lived in seclusion in Qushan, read Dan books, studied guidance, and stayed away from the hubbub, so his books floated like lingyun. There are countless good books in the country, such as teachers. ("The epitaph of Kuaiyutang Postscript: Jiang Shangshu")

There is another cloud: in the early days of the founding of the People's Republic of China, good books, such as Huating Imperial Medical Hall and Cixi River, can give birth to the ancients.

As for the innocence revealed by getting rid of the time path, it gives the meaning of Lingyun between the lines. Only Mr. Jiang Shui from my hometown is the only one. (Preface to "Jiang Shuizhi's Leng Jiang Pavilion Book Kuairutang Inscription").

He is determined to put his calligraphy above Shen Quan and Jiang Ying, and become the highest level of calligraphy in the early Qing Dynasty. Although it is inevitable that "the ancestors in the countryside can't be selfless", it is wrapped in his book Yi Chao Zhenguo Shupin, which puts the running script in the third place (in Da Zhongguang, the former is Deng, a wonderful product; Under the wonderful product, two people, Liu Yong Xiao Zhenshu and Yao Nai Shu; Can taste Qiu Shanzhen and his calligraphy, Song Jue and his calligraphy, Fu Shan cursive script, Jiang Chen's calligraphy, Deng Caoshu, Liu Yong's calligraphy and Huang Yisheng's calligraphy; Wang Duo's cursive script and Zhou Lianggong's cursive script, which can taste 23 people, are also highly appraised.

About Da Zhongguang's calligraphy road, Wang Wenzhi has a very detailed discussion in the Inscription and Postscript of Zhuan Zhuan Tang on the River:

Jiang's calligraphy is always familiar to him from the beginning to the end. Unfortunately, I can't definitely mention the origin of his pen. However, there is nothing in its gossamer, desolate and complacent place that can't be created alone. One day, I stumbled across Uncle Ji's dear John's letter, and suddenly realized that this is how Mr. Ji's book came from. From then on, every book you see has a small picture, and you don't know where it came from. Zhao Ouboyun: "Once upon a time, people carved a few lines of ancient characters, and they could become famous by studying hard." That's a bitter word.

Although Wang Wenzhi's remarks are only his own guess, he should be closer to the truth, because he is so bad about this book. Uncle Ji's dear John's letter is not true today, but in short, the calligraphy method in Wei and Jin Dynasties should be credible. The calligraphy in Wei and Jin Dynasties, especially Ji Shu's Night, is in line with his character. This can be proved by his poems. He wrote in his poem: "By the Shui Ye Bridge, the old business is still there, and several huts face Gankun. Half of them are safe in the mountains, so why be grateful? " The artistic conception and allusions of the poem come from Wang Changling's Poem "Long Xin Qiu Ci", which shows a kind of free and easy temperament and interest of seclusion in the mountains, and is the embodiment of the perfect integration of his poems and his books. Therefore, Wang Wenzhi's evaluation of his book "dust-free, I am angry" is precisely the place where it is superior to others, and it is also the place where others can hardly go everywhere.

Good at painting, making friends with Wang and Yun Nantian and influencing each other. "Painting on the river is a special book, and a pair of Wang Yun is in the writer's orbit, which is also beneficial to friends" (A Book of Three Kings in Kuairutang). There are two inscriptions in the appendix of Pang Yuanji's "Xu Zhai's Famous Paintings: Imitating Yuan People's Writing Axes": "The pen is floating and clumsy, and it stands out from the crowd, which is correct. More than ten times better than the rest of the picture. " (Wang) "The pen is ubiquitous and has a high rhyme, which is a dream that modern mediocre history can't reach." (Yunnan Day) It can be seen that the two men admire their paintings.