In calligraphy, Zhao studied under Yan in his early years, and after accepting Bao's view that "one hook is enough, and a wealth is enough", he began to pay attention to the study and imitation of the statues of the Northern Wei Dynasty and the Six Dynasties, and comprehensively implemented Bao's epigraphy thought. On the one hand, although wool is used, it strives to be Feng Yu's "Qi Li", so the pen is soft and solid; On the other hand, Li Shu's brushwork is integrated into Weibei, and wherever he goes, he is round and profound. After repeatedly studying Zhang Menglong's stele, stele, Shimen inscription, Longmen Twenty, Yihe inscription and other Wei Bei, Zhao picked out the inscriptions of Longmen statues such as Wei Lingzang and Shi, made a sharp cut at the stippling place and turned over the strokes. Compared with the contemporary stele scholars, most of them devoted themselves to expressing the meaning of chiseling with a knife. Zhao's understanding of the North stele focused more on brushwork, so his calligraphy could be tactful and clever, and he stood out from other stele scholars.
Zhao's seal script and official script used Deng as the blue version in the early years, and later introduced Beibei's pen. After several trips to Tao Zhu, he finally expressed his intention. Its seal script, with a pen, makes the head comfortable, with changeable manners and charming; While observing Deng's laws and regulations, he obtained the wonderful use of Han Dynasty inscriptions such as Liu Xiong Monument and Ode to Longshan. It emphasizes the sharp turn of the pen and the waving of the pen, and uses thick ink and heavy colors to make it clear, clear, healthy and powerful without losing agility and massiness. Fu Ruizhi's four screens, urgent chapters, and anecdotes about Bao Puzi.