A Study On The Development

In the city of Qujing, Yun Nan, two well-known tabels were left, which are Cuan Bao Zi Bei and Cuan Long Yan Bei. And Cuan Bao Zi Bei that can be called “little cuan bei” is set up in the first year of Dongjin Yixi that is the fourth year of Daheng(AD 405). Cuan long Yan Bei, in the second year of Nan dynasty, Liusong Daming( AD 458) is also named “ big cuan bei”. These two tables together are famous as “two cuan bei”. The calligraphy in them which is called “Cuan Calligraphy” is unique, combing seal character, official script, regular script, running script, and cursive script. Cuan Calligraphy belongs to a transitional script, from official script to regular script.As tables inscription sprang up in Qing Dynasty, these two tables were strongly recommended by calligraphy scholars who copied them by themselves. So these two tables were pushed to the highest status. The style of Cuan has a profound influence on the later calligraphists.At present, studies on the diverse aspects of the two tables, such as the cultural history of Cuan family, the linguistic features and the art style of Cuan have been done. However, the later scholars have different attitude to this art style. This paper focuses on three aspects: the origin and the background of Cuan, the historic opportunity of Cuan’s development, the comparison between the Calligraphy of different calligraphists such as Shen Zengzhi, Jing Hengyi, Li Shutong, and Qin Esheng and so on and Cuan Calligraphy. This thesis aims to carry on a comprehensive explanation towards the history and the trend of Cuan calligraphy. Meanwhile, it has further analyzed the problems of what Cuan should do to adapt to the aesthetic requirement of today’s calligraphy.