In terms of calligraphy and Taoism, Fu Shan advocates truthfulness and simplicity; he pays attention to personality and opposes servility. He once denounced Zhao Meng's calligraphy as soft, beautiful and vulgar, "like King Xu Yan's boneless", and also completely rejected Dong Qichang's calligraphy. In response to the prevailing calligraphy style of Zhao and Dong at that time, he proposed the "Four Nings and Four Things" ("Winning to be clumsy rather than clever, rather ugly than flattering, rather independent than frivolous, straightforward rather than arranged" (Fu Shan's "Zi Zi to Show Children and Grandchildren")) He advocated that we should try our best to turn back the "flooding tide of Linchi".
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, a large number of survivors of the Ming Dynasty succumbed to the rule of the Qing Dynasty. Fu Shan was regarded as a first-class figure in the early days of the country for his intellectual integrity. In his opinion, this kind of behavior was simply the extreme form of "slickness and flirtatiousness". The reason why he spared no effort to criticize Zhao Meng and others is obviously not just a matter of purely personal artistic opinions, but also contains a deeper and stronger national ideological component. During the heyday of the four emperors in the early Qing Dynasty, their rule had not been relaxed, and various anti-Qing ideas had not been superficial. In addition, the four emperors were fond of studying and respected Dong and Zhao, and no one dared to speak differently. Therefore, although Fu Shan's calligraphy ideas were put forward in the early Qing Dynasty, they only emerged at different times after Jiaqing and Daoism, and finally merged into a huge stream of calligraphy thoughts in the late Qing Dynasty.