Who founded calligraphy?

The origin of primitive characters is an imitation instinct, which is used to visualize a specific thing. Although it is simple and chaotic, it already has a certain aesthetic taste. This simple writing can therefore be called prehistoric calligraphy. From the Xia, Shang and Zhou Dynasties, through the Spring and Autumn Period and the Warring States Period, to the Qin and Han Dynasties, the historical development of more than 2,000 years also promoted the development of calligraphy art. During this period, various calligraphy styles appeared one after another, including Oracle Bone Inscriptions, bronze inscriptions, stone carvings, bamboo slips and Zhu Mo's handwriting. Among them, seal script, official script, cursive script, running script, regular script and other fonts were stereotyped in the screening and elimination of hundreds of miscellaneous characters, and the art of calligraphy began to develop in an orderly manner. Calligraphy is a pioneer. During the Spring and Autumn Period and the Warring States Period, there were great differences in languages among countries, which was a major obstacle to economic and cultural development. After Qin Shihuang unified the whole country, Prime Minister Li Si presided over the unification of the national characters, which was a great achievement in the cultural history of China. After the unification of Qin Dynasty, this script was called Qin Zhuan, also known as Xiao Zhuan, which was simplified on the basis of Jin Wen and Shi Guwen. Li Si, a famous calligrapher, presided over the compilation of Xiao Zhuan. Li Si wrote the stone carvings of Mount Li, Mount Tai, Langya and Huiji. All previous dynasties have a very high evaluation. Qin is a period of change of inheritance and innovation. The preface to Shuo Wen Jie Zi says: "Shu Qin has eight styles, namely, big seal, small seal, seal cutting, insect book, copy, official book and official book." It basically summarizes the face of the font at this time. Li's seal script was harsh and inconvenient to write, so official script appeared. Official script is a victory of seal script. Its purpose is to facilitate writing. During the Western Han Dynasty, official script changed from seal script to official script, and its structure changed from vertical to horizontal, with more obvious lines and waves. The appearance of official script is a great progress of China characters and a revolution in the history of calligraphy, which not only makes Chinese characters tend to be square, but also breaks through a single center in brushwork, laying the foundation for various calligraphy schools in the future. In addition to the above calligraphy masterpieces, there are also handwriting such as imperial edict, weight, tile and coin. In the Qin dynasty, the style was very different. Calligraphy in Qin Dynasty left a brilliant page in the history of calligraphy in China, which is a pioneering work. Calligraphy in the Han Dynasty can be divided into two forms: one is the mainstream system of stone carvings in China; One is tile seal, and the other is bamboo and silk alliance calligraphy and ink. The Monument to Yun Qi in the Later Han Dynasty is a symbol of Han Li's maturity. Among the cliff stone carvings (words carved on cliffs), Ode to Shimen is the most famous, and calligraphers regard it as a "masterpiece". At the same time, Cai Yong's "Shi Ping Jing" has reached the requirements of restoring ancient ways and creating interesting tires. Inscriptions are the most important art forms that reflect the times and rhythms, among which Feng Longshan, The West Chamber, Kong Zhou, Yi 'e, Chen Shi, Zhang Qian and Cao Quan are especially admired and imitated by later generations. It can be said that each monument is unique and has no similarities. The northern book is magnificent, while the southern book is simple, which embodies the different aesthetic pursuits of the "scholar" and "vulgar" classes. As for the tile seal and the simple silk script, it embodies the combination of artistry and practicality. The prosperity of calligraphy art began in the Eastern Han Dynasty. Calligraphy theory's works appeared in the Eastern Han Dynasty, and the earliest calligraphy theory author was Yang Xiong at the turn of the Han Dynasty. The first calligraphy theory monograph was a cursive script written by Cui Yuan in the Eastern Han Dynasty. Calligraphers in the Han Dynasty can be divided into two categories: one is calligraphers in the Han Dynasty, represented by Cai Yong. One is cursive writers, represented by Du Du, Cui Yuan and Zhang Zhi. The creation and birth of cursive script in Han dynasty is of great significance in the history of calligraphy art, which indicates that calligraphy has begun to become an art that can express emotions and express calligraphers' personality with high freedom. The primary stage of cursive script is cursive script. In the Eastern Han Dynasty, cursive script developed further and formed Cao Zhang. Later, Zhang Zhi founded modern calligraphy, namely cursive script. During the Three Kingdoms period, official script began to decline from the peak position of Han Dynasty, and evolved into regular script, which became another theme of calligraphy art. Regular script, also known as official script and original work, was created by Zhong You. Regular script entered the history of stone carving in the Three Kingdoms period. The Three Kingdoms (Wei) Period's "Recommended Season Straight Table". "Declaration Form" and so on have become the treasures of several generations. At the peak of calligraphy in Jin Dynasty, it was mainly manifested in running script, which was a font between cursive script and regular script. His representative works "Three Wishes", namely "Yuan Bo Tie", "Sunny Tie in Fast Snow" and "Mid-Autumn Festival Tie". Wang Xizhi, the most representative of the spirit of Wei and Jin Dynasties, is the most influential calligrapher in the history of calligraphy and is known as the "sage of calligraphy". Wang Xizhi's running script "Preface to Lanting" is known as "the best running script in the world", and critics say that his writing style is like a cloud and agile as a dragon. His son's "Ode to Luo Shen" is magnificent, creating a "broken style" and "a book", which is a great contribution in the history of calligraphy. During the Southern and Northern Dynasties, China's calligraphy art entered the era of "Bei Bei Nan Tie". The Northern Wei Dynasty and the Eastern Wei Dynasty are the best calligraphers in the Northern Dynasties, and their styles are also colorful. Representative works include Zhang Menglong Monument and Shi Jing Jun Monument. The representative works in the inscription are: thousands of words are really grass. The Northern Dynasties praised their ancestors and revealed their family business, and carved many stones, such as the north monument and the south post, the north opening to the south, the north people and the south soil, and the north glory and the south show. For example, the representative work of the North-South School is Nan Liang's Yi heming. The "Zheng Wengong Monument" in the Northern Wei Dynasty can be described as a binary star between the North and the South. Most northern writers are Shu Ren, and this book is anonymous. Therefore, calligraphy is called "the sage in the book", and the northern writer is Wang Youjun.