中国书法自古就是文人墨客之间的事,隋唐以下,风格或间为二途:学者书法与艺术家书法。艺术家书法重形式,故多在形体上用心,恣意驰骋,时有开创之功。学者书法重字理,故多在内涵上着力,安舒凝重,或有守成之德。但因古时举制之原因,学者与艺术家,交织重复,兼而为之。至明中叶,分野始凸显。清乾嘉以后,分野尤深。以篆书为例,自邓石如之后,吴让之、徐三庚、赵之谦,乃至吴昌硕,多书画兼工,故其字婀娜多姿,仪态万方;而杨沂孙、吴大澂、罗振玉,则以文字金石为本,清遒刚健,谨严有序。二者皆能 Chinese calligraphy has always been a matter between literati and ink writers. Sui and Tang dynasties have the following styles or styles: scholar calligraphy and artist calligraphy. Artist calligraphy heavy form, so much in the form of heart, wanton gallop, there is a pioneering work. Scholars of calligraphers, so much on the content on the force, soothing, or a defensive moral. However, due to the reasons cited in ancient times, academics and artists, intertwined repeat, and both. To the mid-Ming, the beginning of the prominent highlights. After the Qing Dynasty dry Jia, especially deep distinction. Taking the seal script as an example, since Tang Shiru, Wu Rangzhi, Xu Sangeng, Zhao Zhiqian and even Wu Changshuo, many calligraphy and painting work together, so its graceful words and expressions of grace and grace; while Yang Yi Sun, Wu Dazhao and Luo Zhenyu, Clear 遒 healthy, cautious and orderly. Both can