Lizong was the finest calligrapher among the Song emperors who came after Gaozong (r. 1127–62). While his predecessors followed Gaozong's style, Lizong developed his own unique manner, which was distinguished by angular brushstrokes with straight rapid brush movements—in contrast to the slower, more rounded brushstrokes of Gaozong—and by his preference for Tang, rather than Jin, dynasty models.
This couplet may well describe the beauty of West Lake, site of the Southern Song imperial palace:
Deep in the autumn, waters are clear to the bottom [of the lake], After rain, blueness extends across the sky.
Inscription: Artist's inscription (2 columns in semi-cursive script)
Deep in the autumn, waters are clear to the bottom [of the lake]; After rain, blueness extends across the sky.
Pan Zhengwei 潘正煒 (1791–1850) Jitong miwan 季彤祕玩
Pan Yanling 潘延齡 (19th c.) Pan Yanling yin 潘延齡印
Pan Shicheng 潘仕成 (1804–1873) Shicheng 仕成
Xiang Hanping 香翰屏 (1890–1978) Ceng cang Xiang shi Mengshi Lu 曾藏香氏夢詩廬
Gu Luofu顧洛阜 (John M. Crawford, Jr., 1913–1988) Gu Luofu 顧洛阜 Hanguang Ge 漢光閣
 Translation from Wen C. Fong, Beyond Representation: Chinese Painting and Calligraphy 8th–14th Century. New York: the Metropolitan Museum of Art, 1992, p. 238.
London. Victoria and Albert Museum. "Chinese Painting and Calligraphy from the Collection of John M. Crawford, Jr.," June 17, 1965–August 1, 1965.
New York. The Metropolitan Museum of Art. "The New Chinese Galleries: An Inaugural Installation," 1997.
New York. The Metropolitan Museum of Art. "The Embodied Image: Chinese Calligraphy from the John B. Elliott Collection," September 15, 2000–January 7, 2001.
New York. The Metropolitan Museum of Art. "Chinese Painting, Masterpieces from the Permanent Collection," August 28, 2004–February 20, 2005.
New York. The Metropolitan Museum of Art. "The Four Seasons," January 28, 2006–August 13, 2006.
Shanghai Museum. "Masterpieces of Chinese Tang, Song and Yuan Paintings from America," November 3, 2012–January 3, 2013.