Shi Guwen's font shape

Shi Guwen's fonts inherited the inscriptions on bronze in the Western Zhou Dynasty and Qin seal script. From the calligraphy point of view, Shi Guwen inherited Qin Gonggui (bronze ware in the mid-Spring and Autumn Period, with inscriptions covering ten lines and five elements, counting 12 1 word). His book is the predecessor of Shigu and Qin Zhuan, and its writing is generous. Every pen that is folded horizontally and vertically is contained in the circle, and the pen is drawn vertically at the turning point and gradually extended downward. Its potential is rough and clear, and it does have the powerful hegemonic momentum of the Qin Dynasty. However, it tends to be square and wide, and the head and tail of the pen are Tibetan fronts, which are round and muddy, with a long knot and moderate symmetry. The ancient Mao Xiongxiu is the crown of ancient and modern times. Shi Guwen is a master of seal script and the pioneer of Xiao seal script, which occupies an important position in the history of calligraphy. It is a transitional font that evolved from Da Zhuan to Xiao Zhuan, and has not yet been finalized. Shi Guwen was regarded as an important model of learning seal script by calligraphers in past dynasties, and was praised as "the first rule of calligraphers". Shi Guwen's influence on calligraphy reached its peak in the Qing Dynasty, such as the famous seal writers Yang Yisun and Wu Changshuo, who formed their own style mainly thanks to Shi Guwen. The most famous rubbings in Shi Guwen are those of Pioneer, Zhongquan and Hou Li in the Northern Song Dynasty.