Zhao Mengfu's calligraphy inherited the strengths of the two kings. In writing style, he is elegant and smart, and won the style of two kings. There are many excellent works in regular script, such as Three Notes, which are broad in structure, profound and stable in structure and smooth and round in brushwork, and are most suitable for copybooks. Most of Zhao's handed down works are running scripts, most of which are accurate in brushwork and rigorous in wording, such as Fu on the Red Wall, which is a classic.
First, on the basis of inheriting traditional calligraphy, Zhao simplified the complex and turned the past into the present. His brushwork is neither vague nor mysterious, and the brushwork path of starting, transporting and collecting pens is very clear, which makes it easy for scholars to understand and follow.
Secondly, the appearance is round, the bones and muscles have connotation, its stippling is gorgeous and vigorous, the structure is broad and beautiful, and the stippling echoes closely. Soft outside and rigid inside, beautiful figure and strong skeleton. Scholars not only learn its shape, but also learn its spirit;
Third, the pen is square and square, and the lines are taken. When writing Zhao Ti, stippling needs to be round and colorful, but the structure of white cloth should pay great attention to being square and rigorous, horizontal and vertical, flat and stretched, and the center of gravity is stable. Only in this way can we grasp the characteristics of Zhao Ti. In addition, when he writes regular script, he uses running script slightly, which is one of the characteristics of Zhao Ti.
Easy to adopt