According to the documentary records and existing works, he has made extensive research on Zhao Mengfu, Li Yong, Yan Zhenqing, Mi Fei and so on, with different emphases in different periods, forming a constantly changing stage view.
Generally speaking, his book style changes can be divided into four periods.
The first period is before the age of 30, living in my hometown of Suzhou, the same age.
Wen Zhiming
Making friends is very influenced by literature, so their paintings and calligraphy are very close. "Huang Xiaojing Atlas" painted by Tang Yin in his twenties (collected by Shanghai Museum) is a fine pen with lake rocks, flat slopes and trees that are very similar to the text; Calligraphy also followed.
Zhao Mengfu
At first, it was very beautiful. Use a pen to polish it. Tang Yin's Master of Tibetan Painting is very similar to Wen Zhiming's.
The second period was from 30 to 36 years old. Tang Yin was detained and his wife divorced. In desperation, he could only make a living through poetry and calligraphy, and later he caught up with calligraphy.
Tang people, strive to standardize, especially the clan merchants.
Yan Zhenqing
Regular script is dignified, round and fleshy, with a long structure, strong and dense, fine and vertical stippling, which absorbs official script. The end of the horizontal pen is like a "silkworm head", and the middle of the pen is close to a "dovetail", which is extremely rich and powerful. For example, Tang Yin wrote "Falling Flowers" at the age of 36 in Hongzhi Ugly (1505).
The third stage is 37 to 45 years old. Tang Yin was in his prime, living in Taohua Temple, a paradise, and devoted himself to the free creation of poetry, calligraphy and painting, enjoying himself and reaching the peak of his creation. At this time, calligraphy returned.
Zhao Mengfu
Catch up with the Tang dynasty again.
Li Yong
And then formed his own mature style, based on Zhao Ti, who is handsome and charming and has a beautiful pen, and integrated into it.
Li Yong
Oblique long word posture, powerful brushwork, vivid layout, beautiful and vigorous, beautiful and smart. There are many works of this style, such as Seven-character Rhythm Axis by Zheng Deyuannian (1506) at the age of 37 (collected by the National Palace Museum in Taipei), Song Sheng Axis on Mountain Road at the age of 30 (collected by the National Palace Museum in Taipei), and Sanjue Hangshu (collected by Ding Nianxian), all of which are from Zhao Mengfu and Li Yong.
In the fourth stage, he died at the age of 46 to 54, belonging to Tang Yin's later years. Since the age of forty-five, he pretended to be crazy and fled back from Wang Jiang in Xining. He further saw through the world, his thoughts became more depressed, his behavior became more decadent, and his calligraphy became straightforward and learned.
Mi Fu
The book style of seeking meaning and borrowing momentum is fast and powerful, calm and happy, appearing in all directions, frank and free, and pursuing power, speed and rhyme; At the same time, the brushwork of various schools is integrated, which makes the structure and pen full of changes and reaches a free and elegant realm.
Representative works include "The First Topic of Xizhou Dialect" (collected by the National Palace Museum in Taipei) and "The First Topic of Looking at Spring and Listening to the Wind" (collected by Nanjing Museum).