What are the characteristics of Zhao Mengfu's calligraphy in Song Dynasty?

Su Shi once advocated the theory of "painting and calligraphy are uniform" in the Song Dynasty, with the main purpose of solving the artistic conception problem of literati painting. However, Su Shi did not give a clear explanation of this theory of "painting and calligraphy are uniform" technically, so his views are still somewhat abstract and inconvenient to operate, which also affects the perfect communication of the artistic conception of "painting and calligraphy are uniform". On the basis of Su Shi's viewpoint, Zhao Mengfu put forward the theory of "painting and calligraphy are of the same origin", which not only inherited Su Shi's viewpoint, but also increased the exploration of skills on the basis of Su Shi, carried forward the original theory and was fully demonstrated in practice.

Zhao Mengfu used the brushstrokes of calligraphy to describe different objects, which turned realism into freehand brushwork, but it did not degenerate into graffiti like the "ink play" in Song Dynasty, which solved the formal problem of "painting and calligraphy are of the same origin" and paved the way for the communication of artistic conception with the style of combining expressiveness with painting. In Zhao Mengfu's paintings, the outline of the slope stone is swept sideways with a brush, and the vigorous strokes are full of white, which is a typical "flying white" method in calligraphy. Dead wood is painted from the center, with a dignified picture and the interest of ancient inscriptions; Draw bamboo leaves with eight points. The bamboo leaves are plump and solid, with swaying branches and leaves. The whole picture has both the brushwork of calligraphy and the ink color of painting, and the level of calligraphy is far above that of Su Shi.