Xingcheng's calligraphy activities can be investigated based on his diary "Quan Ji" (written from the second year of Zhengli to the eighth year of Kuanhong). In July of the third year of Changbao (1001), the 29-year-old Xingcheng wrote inscriptions on all the doors of the inner palace, which is the first record of his calligraphy activities. In July of the fifth year of Changbao, he inscribed the newly built Zichen Hall, Chengming Gate, and Xianhua Gate; in October, he inscribed Shizun Temple; in the second year of Kuanhong (1005), he inscribed Jingmiao Temple. Mifumon and the south gate of Hoshoji Temple, the University Residence Hall of Kitanogu Shrine, etc. In the first year of Kannin (1017), he inscribed the Ryukashuin of Kofukuji Temple (now in the Tokyo National Museum), etc. There are too many to mention. In addition, he also wrote a large number of Buddhist offerings and vows, screen-colored papers, etc.
The existing ink writings include: (1) One volume of "Shibai's Poetry Volume", collected by the Tokyo National Museum; (2) One volume of "Honnoji Kiri", collected by Honnoji Temple; (3) One volume of "Book Statement" One piece, personal collection; (4) One volume of "Chen Dingding's Copywriting", personal collection; (5) Ten pages of "Poem Manuscript", personal collection; (6) One volume of "Housagayuan Benbai's Poetry Volume", collected by Masaki Art Museum . In addition, there are also Wang Xizhi's official manuscripts, "Shi Huai Zhi", "Four Characters and Eight Sentences", "The Classic of Filial Piety: Biography of Confucius", etc., as well as the collection of Japanese and Han lang chants, colored paper, and collections in the cursive kana style. Cut and many other styles of calligraphy.
It can be seen from the preserved ink that his calligraphy style is full of conciseness, balance and neutrality. The thick parts of the stipples appear full and full of sinews, and the slender parts are delicate and delicate. The details are subtle, the style is ancient, and later generations will call it "the trace of power". It can be said that the style of Japanese calligraphy began to sprout with Ono Michifu, was further deepened by his assistant, and was not completed until it was completed. Of course, the promotion and diversification of calligraphy style should not be attributed solely to Sanji, but also to the requirements of this era. It is a concentrated expression of the aesthetic consciousness of the dynasty's aristocrats. The Japanese calligraphy style completed by Yukinari was inherited by his descendants. This family-herited calligraphy style was called "Shizonji style" and lasted until the Muromachi period. The origin of the name "Shizong Temple" is because Xingcheng's grandfather Yiyin renamed his Taoyuan Villa as Shizong Temple. After entering the Kamakura period, the eighth generation descendant Xingnou (1179-1251) carried forward the family name. In the late Heian period, Fujiwara Tadamichi (1097-1164), who separated from the "Sejoji style", was active in the calligraphy world as a representative figure of the "Hoshoji style". Later, through his grandson Ryōkyū (1169-1206), it was developed as the "Gokyogoku-ryu". In addition, the calligraphy of Emperor Fushimi (1265-1317) also inherited the mantle of Michofeng and Yukinari, and he was known as the leading calligrapher among the emperors in the past. His sixth son, Prince Sunen-ryu (1298-1356), inherited his family's teachings and founded the "Sunen-ryu", also known as "Seireenin-ryu". Calligraphy flourished from the Kamakura period to the Muromachi period, and there were many schools. "Zunen-ryu" inherited the various schools of Seiren-in, and in the Edo period it became the official calligraphy style of the shogunate - "Oika-ryu". All these can be said to be derived from Xingcheng's calligraphy style. The "Three Traces" played an important role in establishing the Japanese calligraphy style. It laid the foundation for the subsequent development of kana calligraphy and formed the "Wayang" calligraphy style that was opposed to China's "Tang-style" calligraphy.