Based on the disadvantage of the novelty-valued calligraphic style of the Song Dynasty, Zhao Mengfu advocated restoring and innovating the calligraphic style, taking the calligraphic style of the father and son, Wang Xizhi and Wang Xianzhi, who were the representatives in the Wei and Jin Dynasties. In the theory of calligraphy, he proposed the idea of “adopting the same style through the ages ”, which grasped the spirit of Chinese calligraphy and broke through as well as deepened the debate about the meanings and the ways of using brushes in the novelty-valued calligraphic style of the Song Dynasty. In the practice of calligraphy, he was good at all kinds of calligraphy, and made a great achievement in big characters of regular script. His calligraphy had a dominant influence on the calligraphy of the Yuan Dynasty, but in its late period, the calligraphers, most of whom were scholar bureaucrats in the regions south of Changjiang Rivers, began to get rid of the influence of Zhao Mengfu’s calligraphic style and restored the novelty-valued calligraphic style of the Song Dynasty, which attached importance to the expression of emotions.%赵孟頫针对宋代尚意书风的流弊，倡导复古开新，取法以二王父子为代表的魏晋书法。在书法理论上，提出“用笔千古不易”论，抓住了中国书法法度的内在蕴含，从理论上突破并深化了宋代尚意书风中的意、法之辨。在书法实践上，赵孟頫兼善众体，尤其是在大字楷书上成就巨大。赵孟頫的书法在元代书坛产生了主导性影响，但元代后期以江南士大夫为主体的书法家们开始走出赵体藩篱，回归宋代尚意书风重视情性抒发的路径。
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