Xu Shen's Preface to Explaining Words.

Cui Yuan cursive script.

Zhao Yi's Non-cursive Script

Cai Yong's On the Pen and the Nine Potential.

Western Jin Dynasty and Eastern Jin Dynasty

Cheng Gongxiang's official script style

Wei Heng's "Four-body Book Potential"

Suo Jing's cursive script

Wei Shuo's brush drawings

Wang Xizhi's Postscript on Mrs. Wei's Brush Drawing, On Calligraphy, Twelve Chapters on Brush Writing and Notes on Mr. Baiyun's Calligraphy.

Southern and Northern Dynasties

Wang Cheng's Characters of Ancient and Modern Times

Yu Hu's On the Desk

Yang Xin's title has been from ancient times to the present.

Wang Sengqian's On Books and the Praise of Writing Significance

Jiang Shi LUN Shu Biao

Yan Zhitui's On Books

Xiao Yan's "Twelve Meanings of Zhong You Calligraphy: Comments on Merits and Disadvantages of Ancient and Modern Calligraphers and Cursive Calligraphy"

Tao Hongjing's On Books with Liang Wudi

Yuan Ang's Book Review of Ancient and Modern Times

Yu Jianwu's Calligraphy

Shi Zhiguo's Ode to the Heart

Sui, Tang and Five Dynasties

Ou Yangxun's Eight Methods, Thirty-six Strategies, Teaching Method and Writing Theory.

Yu Shinan's On the Essence of Pen and The Book of Books

Li Shimin's Calligraphy Strategy, Essays, Ideas and Wang Xizhi's Biography.

Sun's book spectrum

Zhang Huaiguan's Shu Duan, Guan Shu, Two Kings and others, Wen Zi's Theory, Liu Ti's Theory and Ping Shu's Theory of Shi Yao.

Cai LUN's calligraphy

Dou Yuan and Dou Meng's Notes on Shu Shu Fu and Examples of Shu Shu Fu.

Xu Hao is in the book.

Yan Zhenqing's Preface to Master Huai Su's Cursive Music and Zhang Changshi's Twelve Meanings of Writing Style

Li Hua's "Two-character Formula"

Li Sizhen's After the Book is Published

Han Yu's Preface to Master Gao Xian

Han's Theory of Giving Pen

Lu Xie's Linchi Strategy

Interpretation of Aceh's Lun Shu

Lin Yun's Preface to stirrup

Zhang Yanyuan's Dharma Record

Xu Wei's "Fifty-six Books"

Li Yu's Shu Shu

Song dynasty

Ouyang Xiu's June 1st. Try to write "

Su Shi's On Books

Zhu Wenchang continued to break the book

On Books by Huang Tingjian

Xuanhe Pu Shu

Mifei's Famous Words of the Sea and the Moon and an Interview with Zhang Bao.

Zhao Gou's Momo record

Eastern Style Postscript of Guang Chuan

On Hui An Shu by Zhu Xi

Chen Yue's negative Lu

Music score of Jiang Kui's continuation book

Zhao's On Books

the Yuan Dynasty

Chen Yizeng's Essentials of Hanlin

Yan Zhu by Zheng Ping and Liu Youding

Textual research on sheng's calligraphy

Wu's "Learning Ancient Prose"

Zhao Meng? Eleven Books of Song Dynasty and Postscript of Pavilion Posts

tomorrow

Jie Jin's Miscellanies of Spring Rain

Feng Fang's book strategy

Xiang mu de ya zi calligraphy

Dong Qichang's Essay on Painting Zen Rooms

Zhu Yunming's subscription to slave books and ballads.

Ching Dynasty

Feng Ban's "Poetry of Truth" [excerpt]

Da Zhongguang's book raft

The Covenant of Song Cao's Calligraphy

Liang Bi's Jin Zhai Tales, On Ancient and Modern Fa Tie, Ping Shu Tie, etc.

Wu Dexuan's Comments on Lou Shu in the First Month

Wan Jing's "every Li but occasionally exists"

He Chao's Yi Men Ming

Zhu Luzhen's Introduction to Calligraphy

Qian Yong's Calligraphy

Ruan Yuan's On the North-South School of Calligraphy

Bao's "Art Boat Double"

Liu Xizai's Art Outline

Zhou Xinglian's My Opinion on Linchi

Zhu Hegang's Linchi New Street

On Guang Yi and Zhou Shuang by Kang Youwei.

Modern Times

On Yu Youren's Books

On Meritorious Book

On Shen's Books

In China's ancient literary theory, ancient calligraphy theory is an extremely important part and the most precious legacy of China's artistic theory. In terms of quantity, since the pre-Qin period, there have been so many books on calligraphy that ordinary calligraphy lovers are really hard to appreciate. In order to provide the necessary convenience for art lovers, we collected and briefly commented on Book Theory, which had great influence in the history of ancient book theory in China. I hope our work will be beneficial to the innovation and development of calligraphy today.

The Han Dynasty was the initial period of ancient calligraphy theory in China. With the maturity and prosperity of calligraphy art, theoretical works devoted to calligraphy have appeared. The earliest calligraphy article was a cursive script written by Cui Yuan, a calligrapher in the Eastern Han Dynasty.

Wei, Jin, Southern and Northern Dynasties is the mature period of ancient calligraphy theory in China. During this period, the art of calligraphy flourished and a large number of famous calligraphers appeared. The development of calligraphy also promoted the study of calligraphy theory. During the Western Jin Dynasty, there appeared a number of theoretical works that described and compared the beauty of various calligraphy forms with various images and trends in nature. In the Eastern Jin Dynasty, calligraphers were not satisfied with the description of the external forms of calligraphy, but began to explore the rules of using pens, the structure of structures and composition skills, and paid attention to the relationship between people's subjective will and calligraphy. In the Northern and Southern Dynasties, people began to pay attention to the comments on various calligraphers due to the influence of the times. Calligraphy theory, such as Wang Sanglu's calligraphy, essays and pen praise, deliberately explored the process and characteristics of calligraphy creation, which had a far-reaching impact on the development of calligraphy art in later generations.

The Sui and Tang Dynasties was the prosperous period of ancient calligraphy theory in China. Although the Sui Dynasty was not established for a long time, its calligraphy inherited the inscriptions of the Southern and Northern Dynasties and was inspired by the Tang Kai School, which laid the foundation for the establishment of the regular script method in the Tang Dynasty. His calligraphy theory also focused on discussing the brushwork and structure of regular script, and Zhi Yong's Eight Laws of Yongzi and Zhi Guo's Ode to the Heart are the representatives in this respect. With the peak of calligraphy art in the Tang Dynasty, calligraphers and masters came forth in large numbers, with various schools, and calligraphy theory also flourished. A large number of systematic and weighty calligraphy books have come out one after another. The discussion of detailed techniques and the analysis of the law of calligraphy creation have gradually replaced the elaboration of the overall impression of calligraphy art, involving all aspects of calligraphy art and embodying the atmosphere of "respecting the law" in the Tang Dynasty.

The Song Dynasty was a period of change in ancient calligraphy theory. For various reasons, the calligraphy in Song Dynasty was not as good as that in Tang Dynasty, but it was able to find another way, and the calligraphy in Song Dynasty was very popular for a while. And on calligraphy theory. Song Dynasty advocated that calligraphy creation should not be bound by statutes, and it is unnecessary to haggle over specific methods such as stippling and layout, but should pay attention to the charm of works and the inner spiritual temperament of calligraphers, freely express their thoughts and strive for innovation.

The art of calligraphy in the Yuan and Ming Dynasties was still popular, and it has not yet come out of the trough of calligraphy creation. In calligraphy theory, by inheriting the laws of Jin and Tang Dynasties, he denied the Song people's style of "respecting ideas", and then attached importance to the formal beauty of calligraphy art, demonstrating the demeanor of Wei and Jin Dynasties. In the Yuan Dynasty, the calligraphy theory focused on statutes, while in the Ming Dynasty, it emphasized advocating elegance and paying equal attention to strength and beauty.

The Qing Dynasty is a period of connecting the past with the future in ancient calligraphy theory. Since the middle of Qing dynasty, there has been a pattern of obvious separation between tiexue and stele study, and tiexue has gradually turned from prosperity to decline, while stele study has become increasingly prosperous.

From the above-mentioned general outline of the development of ancient calligraphy theory in China, we can easily find the following outstanding features:

First of all, pay attention to the summary and guidance of aesthetic fashion.

Secondly, the study of calligraphy art is comprehensive and systematic.

Third, pay attention to the relationship between books and character.

In addition, he is also good at expressing the feelings of the appreciator with vivid metaphors, thus fully showing the interweaving of various psychological activities in the process of appreciation.

In a word, the ancient calligraphy theory in China is a valuable cultural heritage, which deserves our careful summary and inheritance.