There were nearly 200 calligraphers in the Wei and Jin Dynasties with documents as evidence. The style they created has always influenced the calligraphy style of later generations. In particular, Zhong You and Wang Xizhi (also known as "Zhong Wang"), two great calligraphers in Li Zhuo, are the link between the past and the future. They opened a new page in the history of China's calligraphy development. It sets an example of the beauty of real books, running scripts and cursive scripts. From then on, all the literati in the past dynasties were "Zhong Wang" who preferred sons to daughters. In addition, there are some famous calligraphers, such as Wang Xianzhi and Wang Xun. Zhong You's calligraphy is good in all aspects, especially in small letters. Simple and rigorous structure and natural brushwork have created a new look from official script to regular script. His calligraphy has always been valued by people. The original clock has long been lost. Since the Song Dynasty, the lower case "declaration form" and "recommended season table" engraved on the law posts have been copied by people in Jin and Tang Dynasties. The brushwork is simple and vigorous, natural and graceful. Wang Xizhi's calligraphy "combines all the methods and prepares one family", reaching the height of "more valuable than others, ranking first in ancient and modern times". His regular script, such as Le Yi Lun, is beautiful in brushwork, full of energy and commensurate with fat and thin, which is very consistent with the rules of regular script. His main achievements are also reflected in running script and cursive script. His cursive script is praised as "the sage of grass" by the world. He unified some advantages of writing with a pen scattered in ancient and modern calligraphy works into calligraphy works. Preface to Lanting is Wang Xizhi's masterpiece, with 324 words, perfect composition, structure and brushwork. Later generations commented that "the font of the right army has changed. Its heroic spirit is natural, so it is considered to be a model from ancient times to the present. " Therefore, calligraphers of all ages regarded Preface to Lanting as "the best running script in the world". Seventeen posts is the representative work of Wang Xizhi's cursive script, which is named after its seventeen characters (now the ink is lost and only one book has been handed down from generation to generation). His unique calligraphy style. It had a great influence on later generations and was praised as a "book saint" by later generations.
Wang Xianzhi, the seventh son of Wang Xizhi, studied books with his father when he was young, and then adopted the method of Zhang Zhi to create a new law, forming his own family. Like his father, he was called the "two kings". His regular script is represented by Thirteen Lines of Ode to Luoshen (the original does not exist, only the stone book carved by Jia Sidao has been handed down to this day, and it is called "Thirteen Lines of Jasper" because the stone color is like jasper). It can be seen that the figure is elegant, the brushwork is free and easy, the brushwork of regular script no longer has the meaning of official script, and the font changes from horizontal to vertical, which is a fully mature regular script. The cursive Mid-Autumn Festival Post is called "One Book" in the world with continuous strokes, and it is also called "Sanxi" with Wang Xizhi's "Sunny Post in the Snow" and Wang Xun's "Yuan Bo Post" (now in the Palace Museum). Xun Wang, Zilin, the nephew of Wang Xizhi, comes from a noble family who has been good at calligraphy for generations. His father and grandfather, Wang Dao, are good at books, so it is said in history that "three generations called NengShu, which was learned by Cao Shengfan and also passed down". His cursive "Yuan Bo Tie" is a very rare original of celebrity calligraphy in the Eastern Jin Dynasty, and it is listed as one of the "Three Wishes". It has always been regarded as a treasure by later calligraphers, connoisseurs and collectors. Its beautiful, natural and fluent brushwork is the best of China's ancient calligraphy works. Its brushwork is fine and its structure is open. There is indeed the charm of Jin people, such as "the day when the sun rises, like a breeze, like clouds and smoke, like a winding path in a secluded forest."
Calligraphy theory began to flourish in Wei and Jin Dynasties. In the Qin and Han dynasties or beyond, in people's consciousness, calligraphy is more of a writing behavior of Chinese characters. But in the Wei and Jin Dynasties, calligraphy was no longer just an accessory or supplement of philology, but increasingly became the front desk of a professional theory, which directly reflected the prosperity of calligraphy aesthetic research and calligraphy criticism activities in this period. The systematization of calligraphy theory and the emergence of professional calligraphy theorists became the key to the rapid development of calligraphy in Wei and Jin Dynasties. For example, Wei Shuo's Bi Tu, Wang Xizhi's Bi Tu of Mrs. Wei Ti, brushwork, brushwork and calligraphy theory, Xiao Yan's On the Advantages and Disadvantages of Ancient and Modern Scholars, Liu Shao's Bai Fei Calligraphy Style, Jin Chenggong Sui's Li Shu Style, Wei Heng's Four Shu Styles and Yang Quan's Four Shu Styles. Their theory is not a simple summary of practice, but closer to pure theoretical research. The appearance of this phenomenon broke the backward situation that the theorists were replaced by creators, which led to the separation of practice and theory, thus making calligraphy theory develop in a deeper and broader field.
Wei-Jin calligraphy created an artistic calligraphy form with perfect combination of content and form, which opened up a broad road for literati calligraphy. The organic composition of the system structure of form and spirit of calligraphy has been completed, and the most important thing is to complete the process of aesthetic artistry, making calligraphy a carrier to express the calligrapher's main feelings. Secondly, literati calligraphy occupies the mainstream of calligraphy, pushing calligraphy from practice to theory to a higher stage. Finally, it is to promote the formation of the "iron study" school. Starting from the "two kings", the school of calligraphy that pursues the power of writing spread from the palace to the folk, forming the school and style of post-learning. As an artistic peak, Wei-Jin calligraphy has left a wide space for future generations to learn from and has high research value. From the perspective of historical dialectics, Wei and Jin calligraphy is also quite modern, which is the basic way and method for contemporary calligraphy to reach a new height. Reflecting on history in the spirit of tolerance is an important frame of reference for calligraphy creation and has a great influence on later generations.