臥雲在《徵信新聞》中談起二呆的蓮花：「他寫荷花，表現寫實技巧的精華，看似信筆點染，意到而已，而神氣溢出，筆簡而意賅」(原刊於1965年8月7日 )。 看二呆作品可從構圖、線條、色彩和氣韻等方面賞析，卜丁說：「趙氏論畫首重構圖，….不但不可與他人古人有雷同之處，與自己也不可有雷同之處。….除非對所繪景物極其熟悉，反覆觀察，則不能掌握。其次他求『線條』，線條務求其簡，因此一筆也不能白費」，在二呆留下的〈蓮花〉素描筆稿，呼應以上說法。 在「色彩」和「氣韻」方面，卜丁又說︰「用色也力求其簡，不作層層敷染。無論春綠秋紅，除了應該合乎自然外，更要求合於心境，…題材取捨，如不能兼顧色彩，則精神不易傳達。而他最後要求的條件，則為氣韻」(節錄卜丁，〈二呆散論〉《文藝》53期；1973年十月號)，儘管描繪主題皆同，卻可發現作品的差異性，而這也是〈蓮花〉系列作品，最可觀之處。 

In Investigation News, Yo Wun indicates that Er Dai’s lotus “demonstrates the essence of realistic writing. It seems to show its meaning randomly, and yet the spirit of the lotus is vividly revealed. The writing is simple but concise.” (first published on August 7, 1965). 
Er Dai’s works can be appreciated in terms of their structure, lines, colors, and vivid conception. As Bu Ding suggests, “Zhao mostly emphasizes, the importance of structure in painting, … The structure cannot be similar to that of other people and the ancestors. It cannot resemble one’s own work…. Unless one is extremely familiar with the scenery he paints, observing it again and again, one would have difficulty grasping the essence. Lines are the second important element. The lines should be as simple as possible. There is no extra line.” The sketch of “Lotus” by Er Dai corresponds to the abovementioned description. 
In terms of color and vivid conception, Bu Ding suggests that “colors should be as simple as possible. There should be no layers above one another. Whether it is the spring as green or the fall as red, the colors should correspond not only to nature, but also with the artist’s heart… If the colors do not reflect the topic of the painting, the spirit of the topic would not convey anything to the viewer. The last element he requires is the vivid conception.” (extracted from Bu Ding, “Critique on Er Dai,” Literature 53 (1973 Oct.) Although the topic is the same, there are differences between works. This is the most valuable part in the “Lotus” series.