人云:天不生仲尼,万古长如夜。王羲之和兰亭之于后世的经典作用,也如同一团火焰,一盏明灯。自唐代以来,王羲之的《兰亭序》作为历代书家们临习书法的样本,在不同的时期,受不同书学理论和艺术风气的影响,形成各自不同的临写风格。特别是元代以后,随着《兰亭序》拓本的广泛流传,后世书家对《兰亭序》摹本、拓本的收藏、翻刻、临写与研究日趋重视,演绎出元、明、清三代关于《兰亭》题材的丰富多彩的书法创作。 People are saying: God does not have a natural life, as long as night. Wang Xizhi and Lanting in the later classic role, but also as a flame, a beacon. Since the Tang Dynasty, Wang Xizhi’s “Orchid Pavilion Preface”, as a sample of calligraphies by ancient calligraphists, has been influenced by different book theories and artistic styles at different times to form different temporary writing styles. Especially since the Yuan Dynasty, with the extensive circulation of “Lanting Preface”, later generations of calligists paid more and more attention to the collections, transcribing, writing and researching of copies of Lanting Preface, Lanting "theme of colorful calligraphy creation.