Can you briefly talk about the history of ancient calligraphy in China?

China has a long history of calligraphy for thousands of years. In short, the history of China's calligraphy can actually be regarded as the development history of Chinese characters in China or the history of China. China's 5,000-year splendid civilization and unparalleled rich written records have been recognized by the world. In this long and profound history, China's calligraphy art reproduces this diachronic evolution process with its unique artistic form and artistic language.

China's writing originated very early, and it developed the writing of writing into an aesthetic stage-it integrated the creator's ideas, thinking and spirit, and it can stimulate the aesthetic feeling of the aesthetic object (that is, the formation of a real sense of calligraphy). Records can be traced from the end of Han Dynasty to Wei and Jin Dynasties (about the second half of the 2nd century to the 4th century). However, this is not to ignore, dilute or even deny the artistic value and historical position of the previous calligraphy art form. The origin of China's characters and the appearance of early works with artistic characteristics have their particularity and times. As far as calligraphy is concerned, although there were pictographic characters-Oracle Bone Inscriptions in the early characters, the complexity and simplicity of the same character were different, and the strokes were also different. However, there is a law of symmetrical balance, and there are also some regular factors such as pen (knife), word knot and composition. Moreover, in the organization of lines, the beginning and end of strokes change, showing the meaning of calligraphy and strokes. Therefore, it can be said that the emergence and existence of the previous generation of calligraphy art not only belongs to the category of calligraphy history, but also is an important example for future generations to learn from and think about in the development and evolution of art forms.

China's historical civilization is a diachronic and linear process, and China's calligraphy art shows its development under such a background. In the embryonic period of calligraphy (from Yin Shang Dynasty to the end of Han Dynasty), writing experienced the evolution from Oracle Bone Inscriptions, bronze inscription, big seal script, small seal script, official script, cursive script, running script and original works. In the heyday of calligraphy (Jin, Southern and Northern Dynasties to Sui and Tang Dynasties), the art of calligraphy entered a new realm. From seal script to simple cursive script and real calligraphy, it became the mainstream style in this period. The appearance of Wang Xizhi, a great calligrapher, made the art of calligraphy shine brilliantly, and his artistic achievements were highly respected in the Tang Dynasty. At the same time, a number of calligraphers appeared in the Tang Dynasty, such as Yu Shinan, Ou Yangxun, Jun Yiliang, Yan Zhenqing and Liu Gongquan. In calligraphy attainments, each has his own merits and diverse styles.

Calligraphy theory in the Tang Dynasty was more rigorous and perfect on the basis of the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties. For example, Sun's Shu Pu, His Shu Duan, and Zhang Yanyuan's Fa Lu were all regarded as the standard by later generations, which had a far-reaching influence on calligraphy theory's creation in later generations. The calligraphy of Song, Liao, Jin and Yuan Dynasties in the Five Dynasties is the tracing and inheritance of the calligraphy of Jin and Tang Dynasties. Due to the war and political instability, it presents a complicated situation. Calligraphers turn to the track of expressing personal feelings and interests with calligraphy. Song Sijia in the Northern Song Dynasty and Zhao Mengfu in the Yuan Dynasty appeared. Calligraphy theory has also developed, with theoretical works such as Mo Chi Pian, History of Books, Xuan He Shu Pu, Mo Han Zhi, Guang Chuan Shu Ba, Fa Shu Kao and Hanlin. It provides reference samples and theoretical guidance for the artistic creation of calligraphers at that time and later generations.

The art of calligraphy in Ming Dynasty basically developed after learning calligraphy in Song and Yuan Dynasties. Nowadays, when people talk about calligraphy in Qing Dynasty, they all divide it into two periods, namely, "Tiexue" and "Mingxue", with the period of Jiaqing Daoguang as the staging point. That is to say, before11920s, it was the iron study period, followed by the stele study period. Whether this division is reasonable is another matter. However, after the Song and Yuan Dynasties, the so-called era of stele study centered on the calligraphy of the two kings turned to the lowest point so far. It is undeniable that the number of authors who studied seal script before the Han and Wei Dynasties gradually increased. At this time, famous artists came forth in large numbers, each leading the way. At this time, calligraphy theory was more successful than the previous generation, and successively produced theoretical works such as Shu Raft, Yi Tan, Shu Jian and Guang Yi Tan.