"Art Boat and Two Boat" and "Thesis" consist of four volumes, which mainly comment on the practice of ancient Chinese prose and the author's admiration, and also record the book preface and stone tablets. Among them, there are letters, inscriptions, book postscript, poem preface, poems and other genres, all of which are the essence of Bao Wencai. The second volume of Lun Shu (alias Wu An Lun Shu) is the method of learning books. The first volume is divided into three parts, namely, Tan, Guo Chao Shupin, Answering Nine Questions, Answering Three, Answering Twelve Questions in Eight Cursive Script, Writing with Wu Zaishu, Recording Two Works, and Recording the Language of Two Great Teachers. Among them, the first and second chapters of Shu Shu describe the learning experience of "starting with fingering and stopping between the lines", and the second chapter discusses the writing methods of Fang, Le and Women. "Li Tan" analyzes the evolution of calligraphy style and points out: "Although the official script of the Northern Dynasties is based on the origin and seal script, it is full of enthusiasm and strives for ups and downs. Where Zhong Lang used to be, Zhong and Liang rose together, each with its own ingenuity, the door was wide open, the heel was strengthened, and the poverty was incisive. " "There are many monuments in the north, and the word" Zheng Wengong Monument "is unique, while the potential, rhyme and grass are unique. Among them, the cloth version of "Art Shadow" and the painting version of "Stone Drum" come from the same source, so it is self-styled: Cao Chuan, regardless of the difference, close and easy to see. " It can be seen that he advocates the calligraphy view of stele study. "Guo Chaoshu" divides the calligraphers in the Qing Dynasty into five categories: spirit, wonder, ability, first-rate and excellent. All the calligraphers below wonder are up and down, and * * * is nine. One person is listed as a "magic product", which is Deng's official script and seal script, one is Deng's sub-script and original work, the other two are Liu Yong's seal script and Yao Nai's cursive script, 30 people are * * * on tender products, and 3 1 person is * * on one product. In Answering Nine Questions, Answering Three, and Writing Twelve Questions in Cursive Script from the Back, the questions about authentic works, cursive script, official script and seal script are elaborated in detail in the form of questions and answers.
In a word, Bao's comments on the origin of brushwork since the Han Dynasty, his advocacy of epigraphy and the development of new methods of calligraphy have had a great influence on the transformation of calligraphy style in later generations. After Daoxian, the Northern Monument prevailed, and the "double ban on artistic boats" was really a pioneering work. It promoted a large number of people of insight and made great achievements in artistic practice, thus forming a new look of calligraphy in Qing Dynasty. However, the origin of calligraphy schools discussed by the author often has extreme views.
Later, there was Kang Youwei (1858- 1927) from Nanhai, Guangdong, whose real name was Zuyi, whose real name was Guangsha, whose real name was Changshu and Gengsheng, and Guang Yi Zhou Shuang Tan (also known as Book Mirror) was added in six volumes. * * * can be divided into the original book, respect tablet, tablet purchase, body change, change, talking point, native Han, Sichuan Wei, Baonan, Bei Tang, system, source guide, ten schools, sixteen examples, tablet evaluation, postscript, writing, pasting, learning narration, storytelling, list book and so on. It can be roughly divided into four parts: first, it introduces the reasons for writing books after "the book is not up to standard" and "entertaining yourself with stone tablets" Second, discuss the characteristics of this book following Bao's style, and give play to the viewpoint of comparing calligraphy reform with political reform with the theme of "writing books to sell the sun and the moon, worrying about the country from Jiangtan". Thirdly, it is pointed out that although the opinions belittling the Tang Dynasty are unique, they are ignored in textual research and are over-expressed. Fourth, corresponding to Bao's book, supporting the north and restraining the south is even worse. It can be seen that Kang's views are quite consistent with those of Ruan Yuan and Baoji, and he advocates a more systematic study of epigraphy and opposes the study of epigraphy. Therefore, this book can be read with the package.