Tang Bohu's calligraphy and painting: According to the documentary records and existing works, he has made extensive research on Zhao Meng, Li Yong, Yan Zhenqing and Mi Fei, with different emphases in different periods, forming a constantly changing stage.
Generally speaking, his book style changes can be divided into four periods. The first period of Tang Bohu's calligraphy and painting was before he was 30 years old. He lives in his hometown of Suzhou and makes friends with his peers, which is deeply influenced by Wen. Therefore, their calligraphy and painting are very close. When Tang Yin was in his twenties, Huang Xiaojing's Atlas (collected by Shanghai Museum) was very similar to Wen's meticulous brushwork. Calligraphy also started in Zhao Meng, and they are all beautiful and beautiful, with beautiful strokes. Tang Yin's A Master Hides Deep is very similar to Wen Zhiming's.
The age from 30 to 36 is the second period of Tang Bohu's painting and calligraphy creation. When his wife divorced, he had no choice but to make a living by poetry and calligraphy. At that time, he chased the Tang Dynasty in calligraphy and tried to standardize it. You Zong still followed Yan Zhenqing's regular script, with dignified pen, round and fleshy structure, strong and dense, fine and thick stippling, and absorbed official script, ending with a horizontal pen like "silkworm head"
The third period of Tang Bohu's painting and calligraphy creation is from 37 to 45 years old. Tang Yin, in his prime, lives in Taohua Temple, a paradise, and devotes himself to the free creation of poetry, calligraphy and painting. At that time, calligraphy returned to Zhao Meng, surpassing Li Yong in the Tang Dynasty, thus forming its own mature style. Based on Zhao Ti, who is handsome and charming in structure and graceful in brushwork, it also incorporates Li Yong's oblique posture, vigorous and powerful brushwork and vivid layout, making it rich and beautiful.
There are many works of this style, such as Seven-character Rhythm Axis by Zheng Deyuannian (1506) at the age of 37 (collected by the National Palace Museum in Taipei), Song Tu Axis on the Mountain Road at the age of 30 (collected by the National Palace Museum in Taipei), and Three Unique Running Books (collected by Ding Nianxian).
The fourth period of Tang Bohu's painting and calligraphy died at the age of 46 to 54, belonging to Tang Yin's later years. Since the age of 45, he pretended to be crazy and sold stupidly, and fled back from Wang Jiang in Xining. He further saw through the world, his thoughts were more depressed, his behavior was more decadent, his calligraphy was more vivid, and he absorbed Mi Fei's style of seeking meaning and borrowing power. He is quick and powerful with his pen, calm and happy, bold and straightforward, and pursues strength, speed and charm. At the same time, the brushwork of various schools is integrated, which makes the structure and pen full of changes and reaches a free and elegant realm.
Representative works include "The First Topic of Xizhou Dialect" (collected by the National Palace Museum in Taipei) and "The First Topic of Looking at Spring and Listening to the Wind" (collected by Nanjing Museum).