Ni Yunlin was studious and versatile all his life. Poetry, music, piano, chess, calligraphy and painting are all acceptable; The method of "being good at mountains and rivers and creating a broken belt" has a great influence on literati painting in Ming and Qing Dynasties, and it is also called "Yuan Sijia" with Huang, Zhenwu and Wang Meng.
Ni Yunlin's calligraphy was obscured by his painting name. His books handed down from generation to generation are mainly small letters and fine print with lines, which are mostly found in paintings, poems and postscripts, such as Five Poems, Axis of Jing Poems, Boat at the Beginning of the Month, Zhao Meng Calligraphy and Postscript of Luoshen House, etc. These works are straightforward and try to avoid maturity. They use Gu Zhuo's multifaceted pens, which have a deep sense of separation. Although they are cold and elegant, they are elegant and illusory. His rare large-character running scripts, such as "Poem Axis in a Light Room", are similar in style to fine print, but more emphasis is placed on lifting pressure with a pen, which is more refreshing and moist than fine print. Later generations spoke highly of Ni Zan's calligraphy. Xu Wei's "Xu Wenchang Legacy" said: "Your calligraphy was handed down from Li to Li. I was reborn in Zhong You's "Recommended Season Straight Table". The ancient rhyme is charming and dense. " He also said, "The book of Yunlin was written by calligraphers, while the Book of Imperial Palace Huang Ting Jing Juan was all the legacy of Yang and Xu. It is conceivable that the demeanor of the Six Dynasties was beyond that of the Song and Yuan Dynasties. Yuan Zhen is really a first-class calligrapher. He doesn't eat human fireworks and is a fairy. "