Most of Dong Qichang's existing works were created after he was in his forties or fifties, and there are relatively few early works. The surviving regular script "Guanhou Temple Stele" is his early work "written for common people" when he was about 35 years old. At first glance, the calligraphy is not very similar to the common Dong character, and it mainly imitates the Umbrella and Yong stele of the Tang Dynasty. The calligraphy has the calligraphy style of Yan Zhenqing and Wang Xizhi.

His works in his old age gradually changed, such as "Lin Yan Zhenqing's Painting Praise Stele" in regular script, "Jie Lin Zhong Wang Tie", "Lin Xu Hao Tripitaka Monk Stele", regular script "Moon Fu", and running script "Yueyang Tower" and so on. Judging from these works alone, the ancient calligraphy created by Wang Xizhi, Zhong Yao, Yan Zhenqing, Yu Shinan, Mi Fu, Xu Hao and others are all within his scope, so the styles of his works are varied.

For example, "Moon Fu" in regular script is modeled after Yu Shinan. The font is long and slender, and the brushwork is powerful, which captures the gentle and elegant meaning of Yu's script. The Tripitaka Monk Stele and the Painting Praise Stele, which were written in regular script under Xu Hao and Yan Zhenqing's regular script, are devoted to the astringent and simple style of calligraphy, but have almost no natural and unrestrained brushwork when learning Yu calligraphy.

Xue Mi Shu's "Yueyang Tower" is full of dangerous knots and the writing is refreshing and dynamic. Compared with the peaceful and interesting "Jie Lin Zhong Wang Tie", it is completely different.

Dong Qichang's calligraphy art creation entered a free stage after he reached the age of 60. His representative works in his later years include "Poems of Linliu Gongquan Lanting", "Edicts of the Three Generations", "Friends of Stone Terrace" and "Linyan Zhenqing's Struggle for Seats", etc. His calligraphy skills during this period became increasingly proficient. Not only did his writing follow his heart, but he could also Integrating the artistic characteristics of each school to make it more clear and clear, he wants to finally break away from the traditional ancient methods and create his own style.

His works of this period, on the one hand, use seemingly casual and easy brushwork to express the plain innocence of calligraphy, on the other hand, they use clumsy brushwork to reflect the ancient clumsiness of calligraphy.