Yuan Huai's epitaph calligraphy belongs to a relatively standardized Weibei font, which was once called Weibei "pavilion style". Its style and sculpture are very similar to the monument of Zhang Menglong in 522 AD (the second year of Northern Wei Dynasty), such as the words "Lu", "Chun", "Yue", "Nian" and "Zhi". Because Yuan Huai's epitaph and Zhang Menglong's inscription are not far apart, it can even be boldly guessed that they are both written by the same calligrapher. Zhang Menglong's tablet has always been highly praised, and Kang Youwei said it was the "orthodox Sect". However, due to the serious weathering of the original tablet, even in the rubbings in the early Song Dynasty, many words in the tablet were missing and vague, which brought great inconvenience to the research. Epitaph of Yuan Huai just made up for the defect of Zhang Menglong's tablet. From Yuan Huai's epitaph, we can know the characteristics of Wei Bei's calligraphy such as Zhang Menglong's tablet. The Epitaph of Yuan Huai is painted horizontally, with the nib exposed upward and the center slightly moved to the upper right. The strokes are full and powerful, with obvious downward strokes (such as "three", "quantity" and "emperor"). The horizontal paintings of individual characters are written as silkworm heads and goose tails, like Han Li's wavy horizontal paintings, forming some interesting changes (such as "up").
Most of the vertical strokes in Yuan Huai's epitaph are exposed, the tip of the pen is tilted to the left, and the line strokes are turned down to the central strokes, which are firm and powerful (such as "mountain" and "Wei"). The vertical foot of the vertical painting in Chinese characters is mostly the vertical foot of the hanging needle, which was first created in the Tang Dynasty (such as "Ping" and "Emperor").
The writing of Yuan Huai's epitaph is stretched, elegant, generous and somewhat exaggerated, which is the same as the style of Zhang Menglong's tablet (such as "spring", "beauty" and "prose"). People who walk away use heavier strokes and heavier pens. After pressing the pen, they pulled out a long pen, showing a kind of strength (such as "ambition" and "Tao").
The stippling in Yuan Huai's epitaph is one of the highlights of his calligraphy. The juxtaposition point ("bit"), the upper and lower points ("Yu") and the symmetry point ("Tang") are all neatly written, angular, echoing up and down, and looking around. There are also points written as deformation points, which show more changes, such as "nothing" and "worship" points stretched into short paintings. What's even more peculiar is that some words are written with eight dots at the bottom, with long feet, which are vivid and lovely and unconventional (such as "six" and "yellow").
The hook paintings in Yuan Huai's epitaph, such as vertical hook, horizontal hook and Ge hook, are bold and resolute, and the traces of these hooks (such as Ding, You, Xuan and Or) can be seen from the nuances.
The font structure of Yuan Huai's epitaph is also very distinctive, that is, seeking stability in danger. Horizontal painting, vertical painting, big left and big left, stippling, and exaggerated embellishment of sketching all give people a sense of stability. Especially for words with many strokes, the strokes are interspersed up and down, left and right, and they are seamless, carefully arranged and wonderful. The strokes are staggered, not too crowded, very harmonious, and they are the genius of calligraphers (such as posture, Chinese, elegance, elegance, stone and body).