Oracle bone writing can be roughly divided into two types: thin and stiff brush strokes and vigorous and vigorous thick strokes. For example, Sun Jie stated in his article "From the Letters of Oracle Bone Inscriptions to the Characteristics of Fonts" ("Calligraphy Research" Issue 3, 1983) that the strokes of Oracle Bone Inscriptions are thin and straight, parallel and regular, the structure is symmetrical and balanced, and the shape is strict and square. The sum of these characteristics constitutes the dignified, solemn and solemn style of oracle bone inscriptions. However, if you look closely and break it down, the style of oracle bone writing has actually changed over time. Dong Zuobin's "Research Examples of the Dating of Oracle Bone Inscriptions" (Part 2 of the "External Collection of the Institute of History and Linguistics, Academia Sinica", 1935) divides the oracle bone inscriptions into five periods, and discusses the style of calligraphy. The large characters in one period are majestic. 礴, the small characters are beautiful and dignified, the second period is neat and dignified, gentle and quiet, the third period is decadent and careless, the fourth period is rough and steep, with various shapes on the side, the fifth period is regular and serious, the big characters are majestic and bold, and the small characters are elegant and graceful. . Yang Luan's "A Brief Discussion on the Style of Oracle Bone Calligraphy" (Calligraphy, Issue 6, 1981) is also slightly the same as Dong's theory. The article quoted by Xian Jianmin above believes that the first period has a pioneering style, profound skills and powerful spirit; the second period has a soft and beautiful calligraphy style, but there are new artistic developments in terms of neat structure and standard use of swords; the third period style Shedding the ornaments, and trying to explore cursive writing, the fourth period is a period of integration of many calligraphy styles and styles of oracle bone inscriptions. The fifth period uses a dignified and well-proportioned pen, and the writing is stereotyped. A major breakthrough in its brushwork lies in the strokes The fullness and roundness of the calligraphy can be said to be a period of maturity for oracle bone calligraphy. Wang Shenxing's "A Preliminary Exploration on the Structure and Layout of Oracle Calligraphy" (1992 Shaanxi People's Education Press "Ancient Characters and Yin and Zhou Civilization") not only analyzes the changing characteristics of oracle bone calligraphy in stages, but also discusses the structure and composition of the oracle bone calligraphy. Features. The so-called structure, in calligraphy, refers to the beauty of the font shape woven into a single font according to the spacing structural principles such as density, width and tightness, opening and closing, etc.; the so-called composition, in calligraphy, refers to the entire text. Layout design, artistic processing method of arranging words and words, lines and lines. He believes that the structure of oracle bone calligraphy has the beauty of "breaking the body" in the unity of three opposites: stability and danger, sparseness and density, frowning and expansion. In terms of composition, he is good at using a well-proportioned, vertical and restrained, and virtual and real layout. , and cultivate various artistic charms of rhythm and architectural beauty. It is difficult to list all the numerous appreciations and comments on the dissection of candle-bone inscriptions by experts. If those who are good at this can return to the original oracle bone inscriptions, original rubbings and photos to study them carefully, and be involved in the field of this study, it will not be difficult for them to gain some appreciation. Check.