Park Lao's calligraphy is a typical example of the mutual integration and complementarity of inscriptions. Judging from Zhao Puchu's early calligraphy, he started from the North Monument and learned from Li Beihai's tablet line by line, with a square structure, full flesh and blood, strong bones and unsmooth strokes. After middle age, he began to participate in calligraphy, and Su Dongpo, a calligrapher, became more and more, inheriting his right-leaning and chubby personality. Later, combined with Yan's rich and broad style, he accepted and practiced the idea of "stable but not strange, neither old nor fat" in Minnan Gong, and finally formed Zhao's calligraphy style, which was not intense, vigorous, round and ordinary, and slightly square.
Mr. Qi Gong once lamented: "Pu Weng was good at eight methods, and the ancients were good at reading Lee Tae and perilla. He never stops learning every day, but he knows the eight methods well. No wonder the rhyme of the book is rare and passed down as a treasure of the family. "
Mr. Lin Sanzhi's summary is quite incisive: "Pu Zhao, an old beginner in stele study, is short and fleshy;" Later, the meat became less and less, the gas gradually subsided, the strength gradually solidified, and it became a more square and more open school. "