The newer way of painting by Zhao became a vital part in literati arts. Zhao painted autumn colors of Qiao and Hua mountains in January of 1296, a few months after his return from the north. Chao mi a friend of Zhao helped him in the creation of new pictorial language. The painting gives an ideal scene of farmers and anglers residing in between the two mountains Qiao and Hua Mountains respectively. The posting of Zhao to Chi-Nan to act as a governor drove him into drawing the picture. The mountains situated in the outskirts of Chi-Nan, where it was the ancestral home of Chao Mi. The picture Zhao painted depicts a mixture of primitive painting and sophistication. the topographical points in the picture are not realistic. Although, the picture in the modern world has some defections it remains one of the most inspirational and foundations of the modern art painting in china (Wen and James 268). The painting had an illusion of continuous recession and represents an achievement of describing physical space in a two dimensional surface. The shift in scale, conventional trees and reeds, awkward houses and stick like figures are some of the archaic pictorial representations Zhao outlines. The schematic representation of two mountains with triangular and semi circular forms strikes the eye of a viewer showing an archaic representation. The purpose of Zhao to diversify in his techniques of painting. This was to enable artists to create pictures and paintings that are appealing and represent what is exactly in the region. Ideographic quality of the houses in the picture seen in the way, this shows they are set in a parallel dimension rather than in oblique angles. The painting later became a crucial foundation of the Yuan’s literati painting. Zhao describes the importance of antiquity in the picture, a quality that lacks in many artists of that time. Although, an artist may be well conversant with using brush and color application meticulously and lack antiquity the shortcoming is visible throughout the work. Mengfu introduced autumn colors to Chinese painting this mainly done through a repertoire of texture strokes and foliage dots based on Tung Yuan arts. The hemp fiber strokes of Tung texture strokes appeal because they possessed amorphous, linear, and clear quality. The calligraphic nature of the painting compared to others remained on an advanced level. Zhao and Huang created models used in landscape paintings that would later be the most essential styles in painting. They used modular construction in landscape painting and interacted parts by the infusion of geometric or void and arc objects to give a clear pictorial representation. Zhao took a careful study of Yuan artwork and calligraphy and incorporated Chinese multi-vanishing point perspectives. The incorporation led to the creation of the most influential and appreciated masterpieces. Zhao appreciated the work of his predecessors, and although, his work looked comprehensible the artistic expression had a deeper meaning. Compared to others the Yuan literati group did not carry out their painting in hidden places as those of Sung dynasty. They showed their brushes, for example, Huang Dong painted darker brushstrokes over light ones to give a rich texture. He also used drier brushstrokes over wet ones to perfect on the texture and clarity of the painting. Zhao Mengfu was an innovative landscapist and posed exceptional skills in painting.