Zhao Mengfu has an important role and far-reaching influence that cannot be ignored in the history of Chinese calligraphy art. His contribution to calligraphy lies not only in his calligraphy works but also in his calligraphy theory.

Zhao Mengfu has many insightful insights into calligraphy. He believes that there are two things to learn about calligraphy, one is the brushwork, and the other is the shape of the characters. The writing technique is exquisite, although it is good, it is still evil; the shape of the characters is wonderful, although it is familiar, it is still fresh. If you can understand this by studying calligraphy, then you can also write in language. When studying calligraphy, it is beneficial to meditate on the ancient writings and understand the meaning of the writing.

Zhao Mengfu's articles are unparalleled in his time, and they also refer to the learning of Buddhists and elders. In his paintings, landscapes were modeled after Dong Yuan and Li Cheng; figures, pommel horses and horses were modeled after Li Gonglin and people of the Tang Dynasty; bamboo and flowers and birds were all painted with round and graceful brushwork; he used the flying white method to paint rocks and calligraphy to write bamboos.

In the field of literature and art in the Yuan Dynasty, Zhao Mengfu was a pioneering figure. He is proficient in poetry, Taoist interpretation, proficient in music, good at appraisal, and seal carving. His achievements in painting and calligraphy are particularly high. The paintings of landscapes, woods, rocks, flowers, bamboos, people and horses, Taoism and immortals are all exquisite. The style of painting is like that of the Tang Dynasty people, minus the fineness, and of the Northern Song Dynasty, minus the roughness. He can understand the subtleties and capture the beauty of nature.