China's historical civilization is a diachronic and linear process, and China's calligraphy art shows its development under such a background. In the embryonic period of calligraphy (from Yin Shang Dynasty to the late Han Dynasty), writing experienced the evolution of Oracle Bone Inscriptions, ancient prose (bronze inscriptions), Da Zhuan (bronze inscriptions), Xiao Zhuan, Li Shu (eight points), cursive script, running script and original works. In the heyday of calligraphy (Jin, Southern and Northern Dynasties to Sui and Tang Dynasties), the art of calligraphy entered a new realm. From seal script to simple cursive script and real calligraphy, it became the mainstream style in this period.
Calligraphy theory in the Tang Dynasty was more rigorous and perfect on the basis of the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties. For example, Sun's Shu Pu, His Shu Duan, and Zhang Yanyuan's Fa Lu were all regarded as the standard by later generations, which had a far-reaching influence on calligraphy theory's creation in later generations. The calligraphy of Song, Liao, Jin and Yuan Dynasties in the Five Dynasties is the tracing and inheritance of the calligraphy of Jin and Tang Dynasties. Due to the war and political instability, it presents a complicated situation. Calligraphers turn to the track of expressing personal feelings and interests with calligraphy. Song Sijia in the Northern Song Dynasty and Zhao Mengfu in the Yuan Dynasty appeared. Calligraphy theory has also developed, with theoretical works such as Mo Chi Pian, History of Books, Xuan He Shu Pu, Mo Han Zhi, Guang Chuan Shu Ba, Fa Shu Kao and Hanlin. It provides reference samples and theoretical guidance for the artistic creation of calligraphers at that time and later generations.
The art of calligraphy in Ming Dynasty basically developed after learning calligraphy in Song and Yuan Dynasties. Nowadays, when people talk about calligraphy in Qing Dynasty, they all divide it into two periods, namely, "Tiexue" and "Mingxue", with the period of Jiaqing Daoguang as the staging point. That is to say, before11920s, it was the iron study period, followed by the stele study period. Whether this division is reasonable is another matter. However, after the Song and Yuan Dynasties, the so-called era of stele study centered on the calligraphy of the two kings turned to the lowest point so far. It is undeniable that the number of authors who studied seal script before the Han and Wei Dynasties gradually increased. At this time, famous artists came forth in large numbers, each leading the way. At this time, calligraphy theory was more successful than the previous generation, and successively produced theoretical works such as Shu Raft, Yi Tan, Shu Jian and Guang Yi Tan.
Calligraphy works in Ming and Qing Dynasties are handed down from generation to generation like paintings, leaving more. It is also seen in the market at present. China's paintings and calligraphy works, since Wei and Jin dynasties at the latest, have been treasured by the court and the people as works of art and become people's spiritual food. However, the authenticity of the works appeared problems in circulation, which puzzled collectors and connoisseurs. And there are also cases of official fraud in history. During the Ming and Qing Dynasties, due to the development of industry and commerce in some coastal cities, the demand for calligraphy and painting increased day by day, and fakes appeared in the Ming Dynasty. Suzhou films, made in Henan, made in Hunan and made in the back door are everywhere. This is also a problem that puzzles collectors and connoisseurs. Although there are many works in Ming and Qing dynasties, there are also many works such as real fish and pearls. Therefore, for collectors and collectors in the current art market, they should be cautious when buying and collecting these works.