1. Zhao Mengfu, on the basis of inheriting traditional calligraphy, cut away the complex and simplified it, transforming the past into the present. His brushstrokes are not muddy and mysterious, and the strokes of starting, moving and finishing the brush are very clear. It makes it easy for scholars to understand and follow;
2. The appearance is round and the muscles and bones are connotated. The stipples are vigorous, the structure is broad and beautiful, and the dots echo each other very closely. It looks soft on the outside but strong on the inside, with a graceful figure and a strong frame. Scholars not only learn its form, but also focus on learning its spirit;
3. The pen is round and square, flowing and moving. When writing Zhao style, the stippling needs to be round and luxurious, but the structure must be square and rigorous, horizontal and vertical, smooth and stretched, and the key points stable. Only in this way can we grasp the characteristics of Zhao Ti. In addition, when he writes regular script, he slightly uses running script to make the words flowing and beautiful, which is also one of the characteristics of Zhao style.
4. Zhao Mengfu was a very influential calligrapher in the early Yuan Dynasty. According to the original biography of "Yuan History": "Meng Fu's seal scripts and official scripts are the best in ancient and modern times, so he is famous all over the world for his books." It can be seen that the praise is very high. Song Lian of the Ming Dynasty said that Zhao's calligraphy learned from Siling (that is, Song Gaozong Zhao Gou)'s calligraphy in his early years, who "understood the eight wonderful methods and paid attention to the ancient elegance". Wang Shimao said: "Most of the Wenmin books come from the two kings (Xizhi and Xianzhi). If their body is compact, they can win the right army; if their posture is elegant and elegant, they can win the big order; as for the book stele, it is a close imitation of Li Beihai's "Yuelu" , "Sa Luo" style. "In addition, he also touched the Dingding stele of the Yuan and Wei Dynasties and Yu Shinan, Chu Suiliang and others of the Tang Dynasty; in seal script, he studied Shigu script and Chu Chu script; in official script he studied Liang Hu and Zhong Yao; in cursive script. If you learn from Xixian, you can work hard to inherit the tradition.
5. As Wen Jia said: "Wei Gong imitated all the excellent calligraphers of the ancients." Yu Ji said of him: "His regular script is proficient in "Luo Shen Fu", so he accepted its standard. His running script is proficient in "Holy Teaching Preface", and he entered his room. As for cursive script, he studied "Seventeen Tie" and measured its shape." He is A very accomplished calligrapher who combined the calligraphy of Jin and Tang Dynasties. Calligraphers of his time highly praised him, and later generations included him in the Four Masters of Regular Script: "Yan, Liu, Ou, and Zhao". Dong Qichang, a calligrapher and painter of the Ming Dynasty, believed that his calligraphy was directly influenced by Jin people.