later than Oracle Bone Inscriptions, Jin Wen, also known as Zhong Dingwen, appeared. Shang and Zhou Dynasties were the era of bronzes, in which ding was the representative of the ritual vessels and bell was the representative of the musical instruments, and "Zhong Ding" was synonymous with bronzes. Therefore, the inscriptions on bronze wares are inscriptions carved on bronze wares. Compared with Oracle Bone Inscriptions's slimness, the inscriptions on bronze wares are a little thick, simple and full of stone spirit. Then came Shi Guwen. Shi Guwen is the earliest stone inscription in China, known as the "ancestor of stone carving" in the world. There are more characters, with more consistent principles and styles of word-making, and the writing is more beautiful, gradually forming a large seal style. During the Qin Dynasty, Qin Shihuang unified the characters, improved the big seal script and unified it into a small seal script. Later, the official script was developed from seal script, which was also affirmed and appreciated by Qin Shihuang, and was widely adopted.
The Han Dynasty was the era when official script flourished, and it was a crucial generation in the development history of Chinese calligraphy. During the 4-odd years of the Han Dynasty, the society was stable and prosperous, and the culture and art developed unprecedentedly. Therefore, the Han Dynasty became a crucial period in the history of calligraphy, developing towards simple use and beautiful fonts, with various genres and styles of calligraphy. At the same time of the maturity of official script, there has been a break-up official script change, which has developed into Zhang Cao, running script and real script. In the Three Kingdoms period, official script coexisted. In the Wei and Jin Dynasties, three books, Kai, Xing and Cao, prevailed, which laid the pattern of modern calligraphy. Calligraphy theory developed after Jin Dynasty, which promoted the improvement of calligraphy art level.
Wang Xizhi, known as the sage of books, was a representative figure of calligraphers in Wei and Jin Dynasties. Wang Xizhi perfected the modern calligraphy of Kai, Xing and Cao, and was regarded as a model of Kai in all previous dynasties, "the best calligraphy in the world". His representative works include Huang Tingjing in regular script, Preface to Lanting in running script and Seventeen Posts in cursive script. Wang Xizhi's calligraphy was cherished at that time. The biography of Wang Xizhi in the Book of Jin was uploaded. One day, Wang Xizhi met an old woman selling hexagonal fans in Mao Mountain. He wrote five words on each fan of the old woman, but it was written by Wang Xizhi, and she got 1 yuan. The old woman followed her words and everyone rushed to buy it for a while. Wang Xianzhi, the son of Wang Xizhi, later became a famous calligrapher, as well as his father, and was known as the "Two Kings" in history.
after the establishment of the Tang dynasty, there was social stability and prosperity for more than one hundred years. Li Shimin, Emperor Taizong, loved calligraphy, and admired Wang Xizhi's calligraphy to the utmost extent, praising his calligraphy as "perfection" and "the first in ancient and modern times". Emperor Taizong bought 3,6 pieces of Wang Xizhi's calligraphy from the people with a large sum of money, and set up "Calligraphy", which became one of the subjects in the imperial examination.
The Tang Dynasty was also a period of unprecedented development of calligraphy. At that time, Ou Yangxun, a representative figure, was known as the "crown of calligraphy" because he was good at regular script. He also made great achievements in calligraphy and cursive style. He learned from Wang Xizhi's various fonts and created his own artistic style. His representative works are most famous in regular script "The Inscription of Liquan in Jiucheng Palace", running script "Dream Dien Tie" and "Hans Zhang Tie".
in the middle Tang dynasty, the development of calligraphy reached a climax. Calligraphers, represented by Yan Zhenqing and Liu Gongquan, created a new situation of dignity, fullness and grandeur.
Yan Zhenqing's calligraphy was rated as "taking the ancient method into the new idea and creating the new method out of the ancient meaning", and he created a new style of calligraphy, which was called "the style of calligraphy with a beautiful face". During the Anshi Rebellion, more than 3 people in the Yanshi family were killed. He wrote a "Sacrifice to the Nephew" for Ji Ming, a young nephew who died tragically in tears. His spirits flew, his brushwork was magnificent, his posture was natural and wonderful, and he was known as "the second running script in the world".
Liu Gongquan is greatly influenced by Yan Zhenqing's calligraphy style. His brushwork is full of spirit and his words are full of bones. Later generations refer to it as "Yan Liu" and have the saying of "Yan Jin Liu Gu". These two styles have also become the style of beginners. Liu Gongquan's calligraphy is well-known for his skill in stippling, being cautious in shelf-setting, and strict laws. Book critics in past dynasties spoke highly of Liu Ti, calling it "the weather of the Temple and the Tang Dynasty". There are many books handed down by Liu from ancient times, such as "Inscription and Postscript on Sending Pear Sticks", "Diamond Sutra Monument" and "Mysterious Pagoda Monument".
in the song dynasty, Song Taizu did not attach great importance to the art of calligraphy. After Song Taizong acceded to the throne, he purchased the ink posts of the former emperors and famous ministers, edited and printed them, and gave them to the ministers. The quality of editing rubbings is not high, and the level of learning calligraphy in Song Dynasty is even lower. In addition, the imperial examination system is prosperous, and the writing is balanced and neat, so the personality of calligraphy art is drowned. Until the period from Song Renzong to Song Shenzong (121-17), four calligraphers, Su Shi, Huang Tingjian, Mi Fei and Cai Xiang, appeared. They proposed "going to school in the Six Dynasties, not sticking to the pattern of the Tang Dynasty", and advocated getting rid of calligraphy, forming a unique style of "respecting meaning" in Song Dynasty, which also made the calligraphy art world at that time feel refreshed.
Although Yue Fei, a famous Song Dynasty scholar, lived a life of wandering from place to place, he was both civil and military. He was good at poetry and ci, and his calligraphy was characterized by lines and grass, with lively charm, rigorous composition, precise attitude, and strong and inflexible. In August of the eighth year of Shaoxing in Song Dynasty (1138), Yue Fei, who attacked the Nomads, passed by Nanyang and visited Wuhou Temple. "In case of rain, he stayed in the temple." Because of his deeper sleep, Yue Fei held a candle to "look closely at Mr. Wen Ci, poetry and fu praised by the former sages in the wall" and was deeply moved. When he saw Zhuge Liang's "The Teacher's Watch", he was touched by the scene and "felt tears like rain". He said to Niu Hao, "Sir, when he came out of Qishan, he succeeded again and again, but the late master made an imperial decree and missed the good opportunity. Isn't it an eternal regret!" The Taoist priest took a pen and paper and asked Yue Fei to write a poem. He said, "A thousand words are hard to express." So he copied the "Model" and wrote it while crying. After writing, he wrote four big characters: "Give me back my rivers and mountains." His calligraphy is magnificent and magnificent, which fully shows his loyalty and integrity.
after years of war, the calligraphy art of the Six Dynasties was in decline. In this period of regime change, the famous calligrapher Zhao Meng was born. #92; . Zhao Yi changed the style of calligraphy in Song Dynasty, and insisted on strict adherence to ancient laws and meticulous work, which promoted the trend of restoring ancient ways and revived the calligraphy art world that had been deposited for a long time. Therefore, some people compared him to Wang Xizhi of Jin Dynasty and Yan Zhenqing of Tang Dynasty. His representative works include Qian Zi Wen and Luo Shen Fu. However, it is difficult to make a forest out of a single tree, and the calligraphy art at that time was finally difficult to become a climate. The calligraphy art of the Yuan Dynasty did not get much development.
The emperors of the Ming Dynasty loved calligraphy so much that they stipulated that all imperial edicts should be copied by people who were good at calligraphy, and those who could write internal and external scripts for the imperial court could get official posts. At that time, the "Pavilion Style", which was popular in pavilions and imperial examination rooms, was square and bright, but stiff and rigid, which limited the development of calligraphy art to some extent.
In the Qing Dynasty, the style of learning calligraphy was still prevalent, and calligraphy was in a state of stagnation. By the middle and late Qing Dynasty, many calligraphers studied steles in Daxing, and wrote their own styles with their own ideas. The calligraphy arts of seal, official script, line, model script and so on were all developed unprecedentedly, and seal cutting, which was closely combined with the calligraphy art, was also developed. A calligraphy work with the opening chapter and the name chapter at the end, black calligraphy with the red seal embellishment, is more beautiful, which is also one of the special achievements of calligraphy art.