2. The calligraphy of inscriptions on bronze in the Western Zhou Dynasty is characterized by heavy strokes, rigorous and neat structure, natural composition, strong style and simple and dignified style, which shows the vigorous era of the Zhou Dynasty.
3. Xiao Zhuan is the standard script determined after the Qin Dynasty unified the six countries. After being simplified by Li Si and others, his strokes are even, round and thick, with stable structure, dense on the top and sparse on the bottom, and steady and stretching, which not only embodies the overall style and dignity of the Qin Dynasty, but also embodies the aesthetic mentality of restraint, rationality, benevolence and moderation advocated by Confucianism in the previous generation.
4. The appearance of official script is a milestone in the history of calligraphy development, which completely changed the uniformity of seal script lines. Li Shu's pen-using meaning is obviously strengthened, which shows the rhythm of emotional movement accumulated in people's hearts for a long time, permeates the interest of calligraphers, and has a richer and more vivid beauty of life connotation.
5. From the time and space background of Chinese culture, the spirit of the times radiated by Chinese calligraphy embodies the Han people's admiration for the heroic and unrestrained momentum and the objectification of human power. It is in this cultural and psychological time and space that we see the magnificent Hanfu in front of Huo Qubing's tomb, the magnificent Gu Zhuo and the simple animal sculptures.
6. During the Southern and Northern Dynasties, the society in the Southern Dynasties was relatively stable, and the book world was shrouded in the wind of "two kings", and its achievements were not high. Calligraphy in the Northern Dynasties is mainly embodied in inscriptions. Calligraphy at this time is a transitional period from official script in Han Dynasty to regular script in Tang Dynasty. Zhong Zhishuai called it "looking at the old norms of Han and Qin dynasties from the top and investigating the customs of Sui and Tang dynasties from the bottom", which is a major feature of calligraphy in the Northern Dynasties, so the overall style is very different from that in the South.
7. "Tang people still respect the law." In the Tang dynasty, many famous regular script writers came forth in large numbers and the stars were bright. Yan Zhenqing's regular script, in particular, is dignified, vigorous, vigorous, simple and awe-inspiring, so it has become a typical representative of masculine beauty in the history of China calligraphy. The formation of Yan Zi's majestic style and rigorous statutes is not accidental, but a portrayal of political rationality and vitality in the prosperous Tang Dynasty.
At this time, all artistic fields changed the subtle and charming fashion in the early Tang Dynasty, and concentrated their aesthetic pursuits on the focus of aesthetic spirit, which was full of realism and romanticism, showing the healthy and full cultural mentality and unrestrained artistic interest of the Tang people.
8. "Ming and Qing dynasties are still in the state." In the Ming Dynasty, due to the germination of capitalist factors and the awakening of citizens' consciousness, the creative aesthetic tendency of culture and art in the Ming Dynasty was to reflect citizens' life as the mainstream, so it was more free and popular in formal aesthetic feeling, close to reality and expressing human feelings, which really opened up the social capacity of cultural and artistic aesthetics, thus showing the positive role of art in reflecting life.
Extended data:
The foundation of China's calligraphy;
The background of calligraphy art is China traditional culture. Calligraphy is rooted in China traditional culture, which is the background of its existence and development. The calligraphy theory we see today since the Han Dynasty has its own systematicness, integrity and orderliness. Calligraphy theory, like other literary theories, includes not only the technique theory of calligraphy itself, but also the aesthetic theory of calligraphy, all of which shine with the wisdom of ancient China literati.
For example, the theory of how to express the categories of "spirit, qi, bone, flesh and blood" in calligraphy, the theory of techniques such as brushwork, calligraphy and composition, and the theory of creation and evaluation all have their own systems.
Reference: Baidu Encyclopedia-Calligraphy