His calligraphy was originally based on Ou Yangxun, but it lost its potential and became a flat or even Fang Zhengzhi style, which was deliberately boring and ended in a stable and neat style. However, there are many elements of the North Monument in European books, so Zhang later immersed himself in the North Monument and changed his old habits, which is also quite right. Zhang Lianqing's small print is not easy to read. Judging from the handwriting on the envelopes handed down from generation to generation, it seems that he has a deep knowledge of European characters. After taking the Fabeibei tablet, its small letters are more integrated with the epitaph of the black woman, so its body is horizontal and flat, while the center of the radical stroke combination is slightly on the upper left, and the prescription is hidden with a pen, but the essence is restrained and the front is more acute, which has its own potential but does not show its sharpness. A large number of banners and couplets, because of their large characters, Zhang Yuzhao often adopts the structural method of "Alina Zhang Belon" to enhance his tall and straight physique. The strokes tend to gather, the left hand is long, and the paintings with long hands tend to be outward. The pen likes to be round and straight, with dark ellipses at both ends, and the strokes on the left side are often thin and hard, which strengthens the rough shape of the strokes on the right side.
At the turning point in the radical, his pen tip turns inside out, that is, the belly of the pen bends straight to the outer corner, and at the same time, the pen tip rotates at the inner corner, forming what Mr. Qi Gong called "inner circle and outer circle", which is the most remarkable feature of his pen. The "mouth" structure in his books is often enclosed by a pen, similar to Yan Zhenqing's method. In addition, Zhang Lianqing writes regular script in big characters, and makes good use of Su Mo and water. His smudging effect is at the joints and at the beginning and end of the pen, and he often boldly smudges several paintings, resulting in a strong contrast between cloth and white. These expressions have strengthened the sense of dignity and stone-like erosion of his books. Its new creation in ink painting has greatly enriched the formal expression skills of calligraphy in tablet inscriptions. In the infiltration of ink and wash, Zhang Yuzhao was the first calligrapher of inscriptions.