His calligraphy is good at running script. On the basis of Yan Zhenqing, he absorbed the richness of Dongpo, the beauty of Zhao, the elegance of Dong Qichang, and the richness of Liu, forming his own style. The overall characteristics are full strokes, odd edges and clear rules. Most of his brushwork uses the reverse pen into the paper, drawing ink and transporting the pen, and the strokes appear soft outside and rigid inside, and the stippling is decisive and crisp, clean and neat; This painting is tall and heavy; Draw twists and turns, including bones and muscles; Hook and draw many folds; Vertical pen, vigorous and dignified, full of Qi Li. When the pen is closed, the power comes to an abrupt end, and there is an endless sense of stopping writing. Pan Linghao's calligraphy structure is different from that of his predecessors, which is characterized by attaching importance to the top and neglecting the bottom, and attaching importance to the left and neglecting the right; Up and down, Somatsu; The upper horizontal is uneven, and the lower vertical is not straight. Full of fun and vivid charm on the right side. The overall feeling of Pan Linghao's calligraphy is sparse, symmetrical and steady; Fat and thin contrast, alternating size; The thickness is patchy, the weight is mutual, the ups and downs are ups and downs, and the rhythm is moving; Fat but not bloated, thin but not withered, wide but not loose, thin but not delicate. In a word, Pan Linghao's calligraphy is beautiful and full of spirit, soft on the outside and rigid on the inside, beautiful but not vulgar, subtle but not revealing. In quietness, peace and tranquility, there is a strong vitality.