Wang Xizhi's "Lanting Preface" in running script is known as "the best running script in the world". Commentators say that the writing style is as floating as floating clouds and as powerful as a frig

Wang Xizhi's "Lanting Preface" in running script is known as "the best running script in the world". Commentators say that the writing style is as floating as floating clouds and as powerful as a frightening dragon. His son Wang Xianzhi's "Luo Shen Fu" has a strong calligraphy style and is the first creation of 'Bro style' and 'One Stroke' have made great contributions to the history of calligraphy. With the support of calligraphy families such as Lu Ji, Wei Jin, Suo Jing, Wang Dao, Xie An, Jian Liang, etc., Southern Calligraphy is quite prosperous. Yang Xin of the Song Dynasty, Wang Sengqian of the Qi Dynasty, Xiao Ziyun of the Liang Dynasty, and Zhiyong Chen all followed in their footsteps. When calligraphy was at its peak during the Jin Dynasty, it was mainly expressed in running script, which is a font between cursive script and regular script. The representative works are "Bo Yuan Tie", "Kuai Xue Shi Qing Tie" and "Mid-Autumn Tie". 3: During the Southern and Northern Dynasties, Chinese calligraphy art entered the Northern and Southern Dynasty era of stele calligraphy, especially the Northern Wei and Eastern Wei. The masterpieces include "Zhang Menglong Stele" and "Respecting the Envoy Monument", among which the "Zhencao Qianzi Wen" in the Northern Dynasties praises the ancestors and reveals the family fortune, with many stone inscriptions. The Bei stele is in the South, Bei Kai is in the South, Bei Min is in the South, and Bei Xiong is in the South. They are all fundamentally different. For example, the representative work of the two schools is the Nanliang "He Ming" and the Northern Wei Dynasty's "Zheng Wengong Stele" can be said to be the North and the South. Double Star, most of the writers of the Northern School were common people and did not name their books, so they were crowned as calligraphers and were known as the "Sages of Books". Dynasty calligraphy: The Sui Dynasty ended the chaos of the Northern and Southern Dynasties and unified China. It was a relatively stable period after the Tang Dynasty. The development of the Southern and Northern steles was mixed with the Sui Dynasty, and the form of regular script was officially completed, occupying the position of inheriting the past and linking the future in the history of calligraphy. The Sui regular script inherited the evolution of the Jin, Southern and Northern Dynasties, and opened up a new standard of the Tang Dynasty. There are steles left in the Sui dynasty, most of which are genuine calligraphy, divided into four styles: 1: "Qifa Temple Stele" by Ping Zhengchun and Ru Ding Daohu, etc. 2: Strict and formal, such as "Dong Meiren's Epitaph", etc. 3: Deep and round, such as "Xinxing Zen Master's Pagoda Inscription", etc. 4: Beautiful and thin, such as "Longzang Temple Stele", etc. (2) The Tang Dynasty when calligraphy was at its peak. : 1: Introduction to Tang Dynasty calligraphy The culture of the Tang Dynasty was extensive, profound and brilliant, reaching the highest peak of Chinese feudal culture. It can be said that "calligraphy reached its peak in the early Tang Dynasty." "More ink writings from the Tang Dynasty have been passed down to this day than from previous generations, and a large number of tablets have left behind valuable calligraphy works. The entire Tang Dynasty calligraphy has both inherited and innovated from the previous generation. The development of regular script, running script, and cursive script has spanned the Tang Dynasty. Entering a new realm, the characteristics of the era are very prominent, and its influence on future generations is far greater than that of any previous era. In the early Tang Dynasty, when the country was strong, calligraphy emerged from the regular script of the Six Dynasties. Suiliang, Xue Ji, and Ouyang Tong were the mainstream calligraphers. Their overall characteristics were rigorous and neat structure, so later generations had a saying of "Tang Zhongjian frame" in calligraphy, and they were respected as "the crown of calligraphy" until the prosperous Tang Dynasty. Combining Confucianism and Taoism, Li Yong changed the right army's practice and became unique. Zhang Xu and Huaisu pushed the expressive form of cursive script to the extreme with their crazy and drunken state. Sun Guoting's cursive script was known for its elegance. Yu Ru He Zhizhang and Li Longji also strived to create authenticity. When Yan Zhenqing came out, he took the ancient method into the new idea and created the new method out of the ancient idea. Dong Qichang said that the people of the Tang Dynasty took advantage of the method. After the decline, Liu Gongquan changed the Kaifa style again and further enriched the Tang Kaifa style. Without any effort, the image of peace in the chaos was also reflected in the calligraphy of the Tang Dynasty. During the Five Dynasties, the popularity of Kuang Chan was very strong, which also affected the calligraphy world. Although "Kuan Chan calligraphy" did not flourish in the Five Dynasties. The calligraphy art of the Tang Dynasty can be divided into three periods: the early Tang Dynasty, the middle Tang Dynasty and the late Tang Dynasty. The Tang Dynasty continued to innovate and was extremely prosperous. In the late Tang Dynasty, calligraphy also made progress. There were six top schools in the Tang Dynasty, namely Guozijian, Taixue, Simenxue, Lvxue, calligraphy, and arithmetic. Among them, calligraphy specialized in calligraphy and calligraphy. Theorists were pioneers in the Tang Dynasty. There were many famous calligraphers in the past dynasties, such as Ouyang Xun, Yu Shinan, Chu Suiliang, etc. in the early Tang Dynasty; Yan Zhenqing, Liu Gongquan, etc. in the late Tang Dynasty were all great calligraphers. The aftertaste of E's regular script and Yang Ning's "Er Wang Yan Liu" 2: The calligraphy of the Sui, Tang and Five Dynasties can be divided into three stages: (1): Sui to early Tang.The brothers Shen Duxuecan added fuel to the fire and pushed the stable small regular script to the extreme. "Every gold-printed jade book is used by the imperial court, stored in the secret palace, and issued to the country, and is a must-do book." Erchen's calligraphy was promoted as the regular standard for imperial examinations. Calligraphers in the early Ming Dynasty included Liu Ji who was good at cursive script, Song Lian who was good at small regular script, Song Sui who was good at seal script and Zhu Ke who was famous all over the world. and the "three sons" Zhu Yunming, Wen Huiming and Wang Chong. 2: The second stage - the rise of the four Wuzhong schools in the mid-Ming Dynasty and the mid-Ming Dynasty, and calligraphy began to develop in the direction of Shangtai. The four sons Zhu Yunming, Wen Zhengming, Tang Yin, and Wang Chong followed Zhao Meng and went up to the Jin and Tang Dynasties, and adopted the best methods; their writing style was also unparalleled. This was related to the development and liberation of ideological concepts at that time, and calligraphy began to enter a new realm of advocating individualization. 3: The third stage - a trend of critical thought arose in the calligraphy circles of the late Ming Dynasty and the late Ming Dynasty. In calligraphy, large-scale and shocking visual effects were pursued. They took advantage of the situation, painted horizontally and vertically, and filled the paper with smoke, which restored the original order of calligraphy. It began to disintegrate; these representative calligraphers include Zhang Ruitu, Huang Daozhou, Wang Duo, Ni Yuanrui, etc. Dong Qichang, the Tie Xuedian army leader, still adhered to the traditional position. 7: Lyricism and rationality - from the middle Ming Dynasty to the late Qingming and Qing Dynasty, the main trend of aesthetics took lyricism and rationality as its banner, the pursuit of individuality and the promotion of rationality were combined with each other, and orthodox classical aesthetics and new aesthetics seeking differences flourished simultaneously. The overall tendency of calligraphy in the Qing Dynasty was to emphasize quality, and it was divided into two major development periods: calligraphy and stele studies. The wild writing and ink in the calligraphy world in the late Ming Dynasty was endless. The cynical ethos further extended in the early Qing Dynasty, and the works of people such as Zhu Fushan still showed their inner life and an unstoppable emotional expression. This point was repeated again in the "Eight Eccentrics of Yangzhou" in the mid-term period. At the same time, the late Ming Dynasty's Tie tradition was further promoted. Jiang Ying, Zhang Zhao, Liu Yong, Wang Wenzhi, Liang Tongshu, Weng Fanggang and others, while deliberately respecting the tradition, tried to show a new look, or wrote in light ink, Or change the organizational structure, etc. However, because Tie Xue has been passed down for a long time and has not been properly cleaned up, understood, and adjusted, certain accumulated shortcomings have become increasingly deepened, which has inevitably led to the decline of Tie Xue. At this time, more and more epigraphy and stones were unearthed, and the scholar-bureaucrats turned from being keen on rulers and tablets to engaging in the study of epigraphy and textual research. For a time, both inside and outside the court, the study of epigraphy became popular, and finally became the main stream of development in the calligraphy circles of the Qing Dynasty, including Ruan Yuan and Bao Shichen. Kang Youwei vigorously promoted that the study of stele existed as a calligraphy system that competed with the study of calligraphy. Famous calligraphers at that time, such as Jin Nong, Deng Shiru, He Shaoji, Zhao Zhiqian, Wu Changshuo, Zhang Yuzhao, Kang Youwei, etc., all used the meaning of the stele in writing and painting, achieving the goal of exhausting their souls and principles. A dazzling situation. It can be said to be a unique landscape of Chinese calligraphy culture. If the desire of the stele scholars to find quality has not been realized, then this desire has been realized in the stele studies. Eight: Modern Fashion - Today's calligraphy is becoming diversified in the calligraphy world, and the art of calligraphy has been elevated to a high level of conceptual change. This is undoubtedly a big step forward. The modernity of calligraphy does not simply depend on the form, structure, lines and other external aspects of calligraphy art, but on the modernization of the inner spirit. The spirit of calligraphy modernity refers to the value trend of modern society embodied and transmitted by contemporary calligraphy art.