Tracing back to the source, it is natural to look at the Wei, Jin and Six Dynasties first. At that time, China's politics was the most turbulent and society was the most painful. But it was an era of spiritual freedom, liberation, wisdom and enthusiasm, so it was also an era of artistic spirit. Philosophically, Wang Bi, three Cao Cao in literature and art, Zhong, Wei and Wang in calligraphy, and a large number of inscriptions and stone carvings have created a new era of truth, goodness and beauty in all fields of ideology. "Vivid form" and "vivid charm" were put forward as aesthetic theories and artistic principles in this period. The inscriptions in the Northern Dynasties are bold, rough and simple, symbolizing the national spirit and character of the North and the Central Plains, adding a touch of bright luster to the treasure house of calligraphy art in China. The Inscription of Yin Inscription by Shimen Ming, Yi Heming and Zhang Menglong and the stone carving of Yunfeng Mountain are praised as marvelous works, which are not only excellent works in this period, but also clearly reveal the information of running script. Unfortunately, Wei Bei was almost forgotten in the next millennium. During the Tang and Song Dynasties, although a few calligraphers paid attention to absorbing the essence of Weibei, such as Ou Yangxun, Yan Zhenqing, Li Yong, Chen Tuan and Huang Tingjian. The quantity and Weibei components are very small.
It was not until the Qing Dynasty that Wei Bei reappeared in the book world with its unique features in this era of "ups and downs in philosophy, literature, art and social and political thoughts, with numerous schools developing, changing or shrinking one after another". After hundreds of years of "the mountains are heavy and the water is heavy", a new world with a bright future is presented to people: simple and vigorous, rigorous and free and easy, natural charm and far-reaching interest. People have broadened their horizons and cultivated their temperament from a large number of Weibei, Han Shi, Qin Ming, Zhou Ding and Shangyi. Those manuscripts that have always been regarded as classics are obviously not satisfied with the gradual enrichment and sublimation of aesthetic taste. A large number of calligraphers, such as Deng, Zhao, Kang Youwei and Yu Youren, advocated the study of steles and created a new generation of calligraphy styles from different angles. At this point, Wei Tixing's calligraphy, as a new calligraphy style, has matured and formed its own system.