The first part is Han, Wei, Jin, Southern and Northern Dynasties
The first chapter is calligraphy theory in Han Dynasty.
Section One: Yang Xiong's Theory of "Heart Painting"
Xu Shen's Theory of "Ideographic Characters" Section II
Section 3 Cui Yuan's cursive potential
The fourth quarter Zhao Yi's "non-cursive script"
The fifth part embodies the calligraphy theory of Han Dynasty: Cai Yong.
Chapter II Wei, Jin and calligraphy theory
The first section is Zhong You's theory of "using pen" and "flowing beauty"
The second section of the book potential theory in the Western Jin Dynasty
The third part is the forerunner of Wang Xizhi: Wei Shuo and Wang Biao.
The fourth part is Wang Xizhi's aesthetic thought of attaching great importance to calligraphy.
Chapter III calligraphy theory in the Northern and Southern Dynasties
Section 1 Yang Xin's Collection of Names from Ancient Books
Section II Su Yu's Theory of Two Kings' Calligraphy
The third part is Wang Sengqian's calligraphy creation theory.
The fourth quarter Xiao Yan and his courtiers' book theory
Section 5 Yu Jianwu's Calligraphy
The sixth surplus's theory of "gaining virtue" and "being a man"
On Calligraphy in Northern Dynasties: Wang Qing, Jiang Shi and Yan Zhitui.
The second part is Sui, Tang and Five Dynasties
The first chapter is Sui and calligraphy theory in the early Tang Dynasty.
The first section is the representative figures of calligraphy theory in Sui Dynasty: wisdom and courage and governing the country.
The second section is a typical example of "Tang people respecting the law": Ou Yangxun.
Part III: Wang Xizhi's descendants: Li Shimin and Yu Shinan.
In the fourth quarter, Li Sizhen advocated "one product"
Section 5 The score of Sun's book
Chapter II calligraphy theory in Tang Dynasty
Section 1: Zhang, the representative figure of meteorology in the prosperous Tang Dynasty.
The second section is the embodiment of Taoism's advocating nature: the narrative of calligraphy and fu.
Worshippers in the third quarter: Li, Zhang Xu and Cai.
Section 4 Muslims and Hardness: On Books by Li Bai and Du Fu
Chapter III calligraphy theory in the Middle Tang Dynasty
The first section is masculine and pragmatic: Xu Hao and Yan Zhenqing's book theory
Section II: Huai Su et al.
The third section: the representative figures of pen and ink theory: Li Hua, Han.
Section four: Han Yu, the representative of Confucian spiritual world.
Section V Re-understanding of the Status of Calligraphy: Liu Yuxi and Liu Zongyuan
Chapter IV calligraphy theory in the Late Tang and Five Dynasties
The first section is Zhang Yanyuan's theory of calligraphy and painting.
The second section is the continuation of brushwork theory: Lin Yun, Lu Xie, Lu Xisheng and Li Yu.
Section III Infiltration of Zen Consciousness: Guan Xiu, Ya Qi, Pu Guang and Wu Rong.
The fourth section lingers between Confucianism, Buddhism and Taoism: thinking about empty pictures
Section 5 calligraphy theory in Late Tang Dynasty: Don Du Xuan and Xu Wei.
The third part is the Song and Yuan Dynasties
The first chapter is calligraphy theory in the Northern Song Dynasty.
The first section: learning to be happy and loving the ancient law: Ouyang Xiu's book theory
In the second section, Cai Xiang's views on books with "Qi" as the core.
The third section is the embodiment of people-oriented thought: Zhu and the continuation of the book.
The fourth section is the embodiment of Taoist art view: Su Shi's book theory.
Section 5 Huang Tingjian's Zen Book
Section VI Mi Fei's Theory of "True Interest"
Section 7: On the Book of Su Men: Chao, Qin Guan and Zhang Qian.
Section VIII Li Zhiyi's Theory of "Meeting with God"
Section 9 Huang's Theory of Respecting the Ancient and Abiding by the Law
Section 10 Dong Di's Theory of Pen Meaning
Section 1 1 of this book publicizes Pu Shu's theoretical thoughts.
Chapter II calligraphy theory in Southern Song Dynasty
Chapter III calligraphy theory in Yuan Dynasty
Part IV Ming and Qing Dynasties
The first chapter is about calligraphy theory in the middle and early Ming Dynasty.
Chapter II calligraphy theory in the Late Ming Dynasty
Chapter III calligraphy theory in the Early Qing Dynasty
Chapter IV calligraphy theory in Kanggan Period
Chapter V calligraphy theory in Late Qing Dynasty
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