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此作用筆剛柔相濟，豐腴俊逸;筆墨精純，珠圆玉潤。結體流美，疏密得宜雍容典雅。整篇興會所至，風雲舒，筆到法随渾然一體，字字風骨内含，爲趟孟頫典型書風，乃其經意之作。 参閱: 1.《寶沈浮錄-故宫散佚書畫見聞考略》，楊仁愷編着，第 421-423:550 頁，上海人民美術出版社，1991 年版。 2.《屦代著錄法書目》，朱家溍主編，第四九五頁，附錄·書畫合璧，紫禁城出版社，1997年版3.《秘殿珠林石渠寶笈:石渠寶笈初编》，國立故宫博物院印行，臺北，1971 年，第1048。4.《乾隆與鬆雪書畫一清帝藝文觀小識》，李維琨!《中國宫廷繪書研究》,第553-554真，故宫出版社，2015 年版。 This function combines hardness and softness, creating a plump and elegant appearance; The brush and ink are pure, and the pearls are round and smooth. The structure is flowing and beautiful, with a suitable density that is elegant and graceful. The whole article is about Xinghui, where the wind and clouds are relaxed, and the brushstrokes and techniques are seamlessly integrated. The character style and bone are embedded, making it a typical calligraphy style of Tang Mengfu, which is his unintentional work. see: 1. "Bao Shen Fu Lu - A Brief Study of the Lost Calligraphy and Painting in the Forbidden City", edited by Yang Renkai, pages 421-423:550, Shanghai People's Fine Arts Publishing House, 1991 edition. 2. "Catalogue of the Method of Recording the Works of Chadai", edited by Zhu Jiaqin, page 495, appendix: A combination of calligraphy and painting, published by the Forbidden City Press in 1997. 3. "Secret Palace Zhulin Shiqu Baoji: Preliminary Compilation of Shiqu Baoji", printed by the National Palace Museum, Taipei, 1971, page 1048. 4. "Qianlong and Song Xue's Calligraphy and Painting: A Brief Introduction to the Art and Culture of the Qing Emperor" by Li Weikun! Research on Chinese Palace Painting Books ", pp. 553-554, published by the Palace Museum Press in 2015.