-Calligraphy art in the pre-Qin and Han Dynasties and calligraphy theory.
Introduction/12
chapter one
Calligraphy art consciousness and Cui Yuan's cursive script /27
The first section "square is not square, round is not straight" /30
The second quarter "eager to fly" and "running ahead" /34
Section 3 "Not Moving a Picture" and "Temporary Adaptation" /38
chapter two
Calligraphy theory under the appearance of anti-calligraphy —— Zhao Yi's Non-cursive script /4I
chapter three
Cai Yong's calligraphy theory with "Force" as the central category /47
The first section, "If there are images in both vertical and horizontal directions, the book can be called" /48
Qi in Philosophy and Force in Calligraphy 2 /5 1
Section 3 "If you want to read, open your arms first" /58
Chapter IV Silent Language-A Paradigm of Calligraphy Criticism /6 1
The medium-length star is brilliant /69
-Wei, Jin, Tang and Song Dynasties calligraphy art and calligraphy theory.
Introduction /70
The first chapter Wei, Jin, Southern and Northern Dynasties calligraphy theory /83
Section 1 Forgery /84
In the second quarter, the beauty of the three ends does not come first with a pen /93
Section 3 Giving Life Form/104
Section 4 "Six Kinds of Pens" and "Creating a Chapter"/1 15
Chapter II Shi Zhiguo, Ou Yangxun and "Safeguarding the Law"/125
Chapter III Li Shimin's "Respect for the King" and Yu Shinan's "Respect for Meaning"/133.
Section 1 Purpose and Background of Respecting the King/133
Section 2 "The Meaning of Books" and "Clever Use of Pens"/138
Section 3 "Keep Font" and "Character Invariant Style"/142
Chapter IV calligraphy theory of Sun/145
Section 1 "coquettish meaning" and "the heart of heaven and earth"/146
Section 2 "Various work arrangements are complicated"/15 1
Chapter V calligraphy theory, Zhang Huaiguan/159
Section 1 "Silent Voice" and "Invisible Phase"/160
The profound meaning in the book is different from that in Wen Ruo/167.
Section 3 "Write before you write" and "Can do things, but don't say what they mean"/170
The philosophical basis of "centralism" in the fourth quarter/17s
Section 5 "Eight Methods of Permanent Characters"/178
Chapter VI Yan Zhenqing and his new book style/183
Chapter VII "Expressionism" of Zhang Dian Zuisu and Han Yu/193
Chapter VIII Ouyang Xiu's Happy for Learning /209
Chapter 9 Su Dongpo's Innocence is My Teacher /2 19
Chapter 10 The Book of Huanggu and Zen and Zhuang /23I
The first chapter is Xi Mifei's Beitang and Retro /24I.
Chapter 12 Jiang Sheng, Tie and Artistic Synaesthesia
Next Multidimensional Progress /26I
-Calligraphy in Yuan, Ming and Qing Dynasties and calligraphy theory.
Introduction /262
The first chapter Zhao Mengfu and his "vulgar book" /269.
Chapter II Yan Ji and Notes /277
Chapter III Chen Yizeng and Jie Jin's Promotion of Calligraphy Language Law /29I
Chapter IV calligraphy theory of Xiang Mu /299 "Neutralization"
Section 1 "Tradition" and "Calligraphy" /30.
Neutralization in the second quarter-the substitution of goodness for beauty /303
The fifth chapter Dong Qichang regards light as calligraphy theory /307.
Chapter VI Ruan Yuan's "North-South School of Calligraphy" /3 13
Chapter VII Bao's "Qi-fullness Theory" /32I
Chapter VIII Liu Xizai and the End of Ancient calligraphy theory in China /329
The first section "writer, writing also" /330
Section 2 "Books should be made of nature" /332
In the third quarter cursive script is indefinite /340
In the fourth quarter, the dialectical view of charm of the North-South School of Calligraphy /344
Name index /350
Illustration catalogue /353
Main references /35