Shi Guwen's position and influence.

Carving stones for Qin in the Warring States period. There are ten stone drums, which are shaped like drums. Each stone drum is engraved with a four-character poem and ten * * * poems, which describe the hunting of the king of Qin, so the stone drum is also called hunting. The handwriting is worn out, and it is now in the Palace Museum in Beijing. Shi Guwen has an important position in the history of calligraphy. Its font is a typical Qin calligraphy style, which has a great influence on the appearance of Xiao Zhuan in the late Qin Dynasty. At the same time, its own artistic achievements are also very high. Its structure is even and square, with generous stretch, full and round lines and strong brushwork. There is no trace of pictograms between the lines of Shi Guwen, but a symbolic structure composed of lines. According to records, Li Si in Qin Dynasty was the first calligrapher influenced by Shi Guwen. He deleted a large number of variant characters before Qin dynasty, which made the characters simpler, more neat and more standardized, and became the national standard characters, which made great contributions to the unification of Qin Shihuang's characters.

Shi Guwen's legacy can also be found in the official script inscriptions in the Han Dynasty, such as Cao Quanbei in the Eastern Han Dynasty, which is famous for its beauty. Fang Shuo, a calligrapher in Qing Dynasty, once said in Inscription and Postscript of Stone Paintings and Calligraphy in Pillow Classics Hall: "This tablet is no different from Ying Ying, but it has ups and downs, and it directly coincides with Hanshu. Wen and Yin are in one hand, connected by stone drums, bypassing Cao Zhang, and opening up the family style of Wei, Qi, Zhou, Sui, Ou and Chu, which is really a key to calligraphy through the ages. You can't learn this book if you don't know the strokes of seal script. " In the Song Dynasty, Shi Guwen received more attention. Zhang You was an influential calligrapher at that time. In the Qing Dynasty, it received unprecedented attention, and a number of calligraphers emerged, among which Deng was an outstanding representative. He is especially good at Shi Guwen, Yishan Monument, Mount Tai engraving by Li Si in Qin Dynasty, Mu Kai Fa, Taishou Monument in Dunhuang in Han Dynasty, Chenghuang Temple Monument and III by Li in Tang Dynasty. One hundred copies of each kind, and eventually become a generation. He, such as Yang Shoujing, has been influenced by it and made great achievements.

The importance of Shi Guwen's calligraphy has much to do with the advocacy of literati. Kang Youwei said in his book Guang Yi and Zhou Shuang Talk, "Shi Guwen is resplendent and lush, so it doesn't disturb the whole festival. It has its own strange color, a slightly flat body and a unified view of insects and similar gases. Stone drums are the first antiquities in China and should be the first criterion for calligraphers. " It can be seen that Shi Guwen's admiration had a great influence on his calligraphy thought, and it never failed. Wu Changshuo is one of the most influential calligraphers in Shi Guwen in modern times. His coming to Shi Guwen is characterized by breaking the founder of Shi Guwen and writing long lines. In the knot, the trend of uneven left and right is unique. Qing people commented on his book: "Chang Shuo wrote in Deng's (Shi Ru's) method, turning horizontal into vertical and forming his own school." At the same time, Zhu Fu also said that "Wu Changshuo is named after the stone drum, and its structure is staggered left and right, new and unprecedented; To be outstanding, you must express your strength with a pen. The breath is deep. " In addition, he applied his brushwork to the creation of traditional Chinese painting and became a great master. Shi Guwen was treasured by Yilin, but after the Northern Song Dynasty, calligraphy flourished and became less popular. It was not until the middle of the Qing Dynasty that the wind of archaeological respect for monuments revived, and the stone drum characters were particularly valued by calligraphers. Wu Changshuo, on the other hand, was angry that he was a man in ancient times. Both of them regard contemporary calligraphy as the most important thing for future generations.

Shi Guwen has a special position in the history of China's calligraphy development, and it is not without reason that his calligraphy style has attracted everyone's attention at all times and in all countries. Learning it can not only catch up with the big print but also open the small print. And for other calligraphy learning, it is of great significance and will be recognized by more people.