From these words of Huang Tingjian, we can see their characteristics. First of all, when he uses a pen, he emphasizes that it means to write first, and the front is in front of the pen. When writing, he should first turn left and then right, praise first and then restrain, and give priority to hidden front.

When closing the pen, Huifeng's fruit is neat and tidy, and at the same time, we also pay attention to the ink color changes in the strokes. Some strokes have traces of flying white, which forms a contrast between shades and adds vitality to the strokes. When lifting a pen, if you encounter a long stroke, there will be a combination of thick and thin contrast, which will give you a sense of frustration and bring you visual enjoyment. Although there is frustration, it is not artificial at all.

The characteristics of Huang Tingjian's calligraphy are also reflected in the structure. Many calligraphers pay attention to the square and dignified font, but Huang Tingjian doesn't. His calligraphy structure is eclectic, forming a face that stretches vertically and horizontally, which is extremely dangerous. He will draw horizontally and extend left and right to make the font vivid.

This kind of writing brings liveliness to every word, which is not as rigorous as calligraphy in the Tang Dynasty. This is a major feature of Huang Tingjian. As can be seen from these words, every stroke of his is thin, hearty and vigorous.

The third feature of Huang Tingjian's calligraphy is discipline. If a person's calligraphy has only brushwork and structure, but no discipline, then his calligraphy is not excellent. As can be seen from some handed down calligraphy, many calligraphers attach great importance to the layout of rules and regulations, such as Wang Xizhi's Preface to the Lanting Pavilion and Yang Ningshi's Jiuhua Post, etc., all of which pay attention to the layout of rules and regulations.