Since the discovery of the stone drum in the early Tang Dynasty, scholars in previous dynasties have called it "the ancestor of stone carving", "the first rule of calligraphy", "the ancestor of seal cutting in previous dynasties" and "the ancestor of square characters". It can be regarded as the normative style of Dazhuan and the origin of Xiaozhuan.
Shi Guwen's font is a bridge from the bronze inscription of Zhou Dynasty to the seal script of Qin Dynasty. Its posture, pen and style of writing are similar to those of the rice-lettered white plate in Zhou Xuanwang's era, the carved stone on Mount Tai and the carved stone on Mount Yishan in Qin Shihuang's era. The transitional form connecting the preceding with the following is more obvious than the figures in any country.
Shi Guwen's knot is rigorous and dignified, and the size is the same. The direction and density of strokes are strictly regulated, and the writing and position of radicals are basically fixed. Except for a few complicated strokes and different writing styles, most of them have no difference or little difference from structure to pen use. According to experts' research, the unified script of Qin Shihuang was based on Shi Guwen.
Shi Guwen's position in the history of China's calligraphy is highly valued, which has much to do with the advocacy of scholars. Kang Youwei said in "A Double Boat in Guangyi" that "Shi Guwen is golden and refined, and the grass covers the clouds, which does not disturb the whole festival. It has its own unique color, a slightly flat body, a unified view of insects and insects, and the gas is similar. The stone drum is the first antique in China and the first rule of calligraphers.