First, the square is simple and sharp. There are Zhang Qianbei, Xian Yu Huang, Jian 'an for six years, Fang Heng, Zhang Shou, Geng Xun and Liu Xiong. This school of Han steles still maintains the simple and broad meteorological and natural meaning of early Han Li, and it is the work that can best reflect the greatness of Han steles. They don't have the exquisite and elegant decoration meaning shown by most Han steles in the same period, and their brushwork is unpretentious, especially the knife meaning. Judging from the origin of the official reform, this kind of tablet was rarely influenced by bamboo slips and silk calligraphy, but evolved directly from the stone carvings in the Western Han Dynasty. The difference is that the stone carvings in the Western Han Dynasty pursue roundness and thick lines because they do not lose the meaning of seal cutting, while this kind of works cover the pen with a knife, showing a clumsy gesture. This inscription is represented by Zhang Qianbei. Because of the great contrast between the brushwork and the Han stele of the same period, the brushwork of later generations is often criticized: "Its brushwork is quite fine, but it is difficult to copy, and there is no brushwork at all, especially Yin." "The so-called" no brushwork at all "means that" Zhang Qianbei "does not conform to the purpose of the Han tablet, and it is a silkworm head and a goose tail. In fact, Zhang Qianbei's brushwork appeared at the end of the official change in the last years of the Eastern Han Dynasty, which had the leading significance and was the beginning of the official change. Kang Youwei believes that "Ode to Zhang Qian Biao" can be placed in modern truth. " Therefore, the calligraphy style represented by Zhang Qianbei not only has the value of the style of book history, but also has the far-reaching significance of calligraphy reform.