This postscript was obviously influenced by Yan Zhenqing's "Duota Monument" in Tang Dynasty. It has beautiful bones, coherent breath, elegant temperament, patchwork and distinct layers. As a representative work of Liang Shi's calligraphy, it showed a strong personal brushwork in the Qing Dynasty, when pavilions prevailed.
Liang's seal script is dignified in structure and clear in strokes. Against the background of special silk patterns, there is a kind of leisure beauty.
Calligraphy characteristics
Liang's calligraphy originated from Yan, Liu, Mi and Dong, and his running script originated from Zhao and Dong. The stippling is round and full, the pen is smooth, the words are steady, and the qi is smooth, from which we can feel the author's skillful grasp of the rules of skills. But behind the perfection of skills and repeated performances, there is a lack of personality temperament that can impress people.
Judging from the works, its elegant and gentle stippling and charming and even structure give people a delicate and graceful impression. His books are ethereal and bright, and his interest in Jing Ya is related to his devotion to Buddhist scriptures and in-depth study of Zen after middle age. He praised Zhong Shaojing and Zhang Jizhi for often copying Buddhist scriptures and taking calligraphy as a Buddhist service. His books are light and graceful, elegant and natural.