Tan's calligraphy style has changed several times. He studied Zhao and Liu Shi 'an when he was weak, and later learned letters and letters, as well as (Yang Zhao) and Song Chan (Weng Tonghe). At the age of 30, he majored in calligraphy, participated in Qian Nanyuan's brushwork, and took "Ma Gu Xian Tan Ji" as a Japanese class. He passed the ball 220 times in his life. 1April, 929, Tan died of illness in Shanghai, during which he received 203 biographies. Tan's "Ma Gu Xian Tan Ji" is bold and looks like Qian Nanyuan, but its brushwork is thicker and stronger than money, and its boldness is vivid on the paper. Its structure is solemn and exquisite, such as the sage arch in the temple, which is admirable. He wrote strictly, advocating "not putting the upper position" and "not putting the left position and the right position". Besides studying books, Tan's home is full of hundreds of books, and he also participated in the creation of seal script. After the age of 40, he lived in Guangzhou and was everywhere in ancient calligraphy posts. Extremely strange, life calligraphy has changed a lot. 1926, Tan recited ancient Chinese characters such as Huang Gu, Su Dongpo, Mi Xiangyang, Zhao, Wen Hengshan, and Dong Qichang. Tan sticks to his post quickly and his brushwork is amazing.
Yan Zhenqing's regular script has been ignored since it was criticized by Min Nangong, and Song Yuanming did not produce a good writer. In the early Qing Dynasty, Dong Qichang's calligraphy was the mainstay. It was not until Liu Shi 'an (Liu Yong) and later Qian Feng, He Ji Shao and Weng Tonghe came out that Yan Shu was revived. However, most calligraphers in Qing dynasty still wrote cursive script, and seal script was also quite good, with few regular script. Qian Feng was once a famous artist, and he was very interested in learning Yan characters. However, when it is horizontal and vertical, it is hard and not as smart as Lu Gong. Even so, Qian Feng is rare in the regular script circles of his contemporaries and later generations. Regular script can show real kung fu, with a slight deviation, which can be seen at a glance. Especially Tan, whose regular script is famous for its colorful style. Tan spent his whole life basically attacking Yan Shu. Tan's good poetry couplets, broken books and short letters are all extremely exquisite. Calligraphy works have both artistic and cultural values, and most of the domestic folk collections are concentrated in Hunan.
On the huge stone tablet on the mountainside pavilion of Sun Yat-sen's Mausoleum, there are two huge gold words "China Kuomintang buried Premier Sun Yat-sen here", which are Tan's calligraphy.
When Tan was young, his calligraphy was appreciated by Weng Tonghe. Weng said in a letter to Tan's father, "Your son is an amazing tool! The pen can almost carry a tripod. " Every time Mr. Yu Youren talks about contemporary calligraphy, he always says, "Tan Anzu has real skills." Ma Zonghuo commented on his book cloud: "Tuan An imitated Liu Shi 'an in his early years, and specialized in Qian Nanyuan and Weng Songchan in his middle age. Attending Min 'ang Palace in the evening, with strong bone strength, can be described as a healthy pen. "His running script is to melt Liu Shian and Qian Nanyuan in one furnace. Its stippling is plump and smooth, like a stone temple, but vigorous and powerful, with a broad and spacious body and a momentum like the South Garden. Tan is a scholar, entered imperial academy and received higher education. He can skillfully absorb nutrition from previous books, thus forming his own broad, gentle, rich, energetic and open charm. This means that you can't learn everything.