Mi Fu (native of Xiangyang, Hubei; style name Yuanzhang, sobriquets Lumen jushi, Xiangyang manshi, and Mi Nangong) was unconventional and unbridled by nature, so he was also called "Eccentric Mi." In running and cursive scripts, he adopted widely from the ancients. His brushwork was handsome and unrestrained like "Masts in wind and horses in front, steady yet overflowing."

The brushwork here is swift and reveals a centered tip. The twists and turns are powerful and the tip sharp when exposed, making for a free and natural style. The manner is handsome and unrestrained with great elegance in a smooth and fluid way, clearly revealing Mi Fu's overflowing manner. This is the fourteenth leaf from the album "Ink Treasures by the Four Song Masters."

Zhao Mengfu (native of Wu; sobriquet Songxue daoren) was related to the Song imperial clan but accepted service under the Mongol Yuan dynasty. He was a Hanlin Academician, enfeoffed as Duke of Wei, and posthumously titled Wenmin. His writing was pure and lofty, as seen in his anthology, Collection of the Songxue Studio.

In the late Song, the study of calligraphy declined, so Zhao advocated a return to antiquity, thus influencing his generation. His calligraphy went through three stages: first copying the style of the Song emperor Gaozong (1107-1187), then in middle years studying Zhong You (151-230) and the Two Wangs (Wang Xizhi and Wang Xianzhi of the fourth century CE), and then later the style of Li Beihai (Yong; 678-747). In this later work, the characters are neat and tidy, the line spacing clear and even, revealing the influence of Li Yong.

Shen Zhou (style name Qinan; sobriquet Shitian) was from Changzhou (modern Suzhou, Jiangsu). He was magnanimous and gifted at poetry, painting, and calligraphy. In the latter, he studied Huang Tingjian's (1045-1105) style for a unique, powerful slant. In landscapes, he followed his family in learning Song (960-1279) and Yuan (1279-1368) styles to form his own.

Shen's friend, Zhao Mingyu, was old but did not have a beard. When Yao Cundao heard of it, he asked Zhou Zongdao (who had a full beard) to help by giving him ten whiskers. Shen Zhou lent his support with this handscroll done in large running script. The brush is penetrating yet stable, the characters upright and well-spaced. The style resembles Huang Tingjian's, but with Shen's own slightly heavier mannerism.