Chinese characters have a very early origin, and have developed the writing quality of characters to an aesthetic stage - integrating the concepts, thinking, and spirit of the creator, and can stimulate the aesthetic emotions of the aesthetic objects (that is, a The formation of calligraphy in the true sense). There are records that can be tested between the late Han, Wei and Jin Dynasties (about the second half of the 2nd century AD to the 4th century AD). However, this does not mean to ignore, downplay or even deny the artistic value and historical status of the previous calligraphy art form. The origin of Chinese characters and the production of early artistic works all have their own particularities and characteristics of the times. As far as calligraphy is concerned, although early writing - oracle bone inscriptions and pictographic characters - the same character has different traditional and simplified versions, and the number of strokes is different. But it already has the laws of symmetry and balance, as well as some regular factors in the use of pens (knives), knotting, and composition. Moreover, the organization of lines and the changes in the beginning and end of strokes already have the meaning of ink writing and the meaning of brushwork. Therefore, it can be said that the emergence and existence of previous calligraphy art not only belong to the category of calligraphy history, but also are important examples that can be used for reference and reflection in the development and evolution of art forms for future generations.
China’s historical civilization is a diachronic and linear process, and Chinese calligraphy art shows its own development under such a large background of the times. In the budding period of calligraphy (from the Yin and Shang Dynasties to the late Han Dynasty and the Three Kingdoms), writing evolved in sequence from oracle bone inscriptions, ancient inscriptions (bronze inscriptions), large seal scripts (Zhen inscriptions), small seal scripts, official script (eight points), cursive script, running script, and real script. . During the Ming Dynasty of calligraphy (from the Jin, Southern and Northern Dynasties to the Sui and Tang Dynasties), the art of calligraphy entered a new realm. From seal script to simple cursive script and real script, they became the mainstream style of the period. The emergence of the great calligrapher Wang Xizhi made the art of calligraphy shine, and his artistic achievements spread to the Tang Dynasty and he was highly respected. At the same time, a group of calligraphers emerged in the Tang Dynasty, such as Yu Shinan, Ouyang Xun, Chu Suiliang, Yan Zhenqing, Liu Gongquan and other famous calligraphers. Each has its own merits and diverse styles in calligraphy attainments.
The calligraphy theory of the Tang Dynasty was more sophisticated and perfect based on the Three Kingdoms, Two Jin Dynasties, and Southern and Northern Dynasties. For example, Sun Guoting's "Book Book", Zhang Huaiguan's "Book Breaks", "Shu Yi" and Zhang Yanyuan's "Fa Shu Yao Lu" were all regarded as standards by later generations and had a profound impact on the creation of calligraphy theory in later generations. The calligraphy of the Five Dynasties, Song, Liao, Jin, and Yuan dynasties is a recollection and inheritance of the calligraphy of the Jin and Tang dynasties. This period presented a complicated situation due to wars and political instability. Calligraphers turned to the track of expressing personal emotions and interests through calligraphy.
The art of calligraphy in the Ming Dynasty basically developed after the study of calligraphy in Song and Yuan Dynasties. Nowadays, when people talk about calligraphy in the Qing Dynasty, they usually divide it into two periods based on "tie studies" and "stele studies", and the period of Jiaqing and Daoguang is roughly used as the dividing point. That is to say, the period before the 1820s was the Tie Xue period, and the period after that was the Steleology period. Whether this division is reasonable is another matter. However, after the Song and Yuan Dynasties, the so-called era of inscriptions and calligraphy centered on the calligraphy of the two kings has reached its lowest ebb. However, the number of authors who studied seal script calligraphy before the Han and Wei dynasties has gradually increased. This is an undeniable fact. At this time, famous people emerged in large numbers, each leading the way. At this time, the theory of calligraphy was more successful than that of the previous generation. Theoretical works such as "Shu Raft", "Yi Zhou Shuang Ji", "Calligraphy", and "Guang Yi Zhou Shuang Ji" were successively produced.