Chinese characters are individual linguistic symbols constructed with such core elements as pictographs, ideographs, and phono-semantic compounds. The abstract nature of the structure of Chinese characters is deemed as the fount of calligraphy. With long-standing practice of writing in social life and different compositions of Chinese characters as the backbone, calligraphers use a brush to create points and lines with rhythm and dynamism, which endow characters with profound aesthetic value.

The period spanning from the Shang dynasty to the Wei, Jin, Northern and Southern Dynasties witnessed the continued and long evolution of script writing styles, giving birth to seal, clerical, running, regular, and cursive scripts. Thus, a multi-script writing system was established and further evolved into a multitude of variants and distinctive styles in later periods.

The inscriptions on the oracle bones and bronze vessels in the Shang and Zhou dynasties entered an early stage of aesthetic awareness. In the Han and Wei dynasties, the aesthetic awareness developed further from spontaneity of a natural style to consciousness of deliberate expressions. In the Jin, Sui and Tang dynasties, certain rules and models for the running script and the cursive script were established.

The calligraphers of the Song, Yuan, and Ming dynasties continued the conventions of the Jin and Tang dynasties calligraphy with innovations on skills and artistic conceptions, which inspired various calligraphic schools and styles.

The literati in the Qing dynasty devoted close and careful attention to the study of ancient inscriptions on steles and bronzes, with focus on the bronze inscriptions of the Shang and Zhou dynasties, steles of the Qin and Han dynasties, epigraphs from the Six Dynasties period, and so on. Calligraphy in this period also saw a shift from the model calligraphy study to the study on rubbings of stone steles. The modern calligraphers combined these two calligraphy studies, enhancing the distinctiveness of individual expressions.

The Shang and Zhou dynasties, along with the Qin and Han dynasties, were the formative eras for the development of Chinese characters and calligraphy. The oracle bone script, inscribed on turtle shells and animal bones, contains records of the Shang royal family's divinations and exhibits an early calligraphic appeal. Many of the Shang and Zhou bronze vessels were cast with symbols or names of clans or inscriptions to record events. The Western Zhou bronze inscriptions are characterized by their dignified and vigorous style, while the Spring and Autumn and Warring States periods saw the emergence of distinct regional styles.

When Qin Shi Huang (the First Emperor of Qin) conquered the six rival states and established a unified empire, he implemented the policy of "unification of scripts and characters" and used the small seal script as the universal writing script. The clerical script started to gain popularity.

The clerical script matured in the Han dynasty. In the mid-to-late Western Han dynasty, the clerical script eventually took form. The Eastern Han inscription is the most representative example of the matured Han dynasty clerical script. During this period, various script styles, such as cursive script, regular script, and running script emerged one after another. The evolution of scripts was largely complete.

In the Wei and Jin dynasties, different styles and schools of calligraphy were developed and expanded, with the emergence of accomplished calligraphers. Zhong Yao of the Wei Kingdom in the Three Kingdoms period, famous for his regular script style, was revered as the "Ancestor of Regular Script". In the Eastern Jin dynasty, Wang Xizhi and his son Wang Xianzhi transformed the traditional style and set a new calligraphic trend known as the "Two Wangs' Style". The calligraphy style of the Southern Dynasties inherited that of the Eastern Jin. In the Northern Dynasties, the popular "Northern Stele" script style combined elements of the regular script and the official script, exuding an archaic, unadorned, and robust appeal.

The Sui dynasty calligraphy mainly inherited the style of the Six Dynasties and gradually integrated the characteristics of both the northern and southern styles. The regular script started to shed the influence of the clerical script. The epigraphs Dong Meiren and Chang Chounu in the Museum's collection exemplify this change. The Tang dynasty calligraphy emphasized rules and standards, epitomized by the regular-script works. At the beginning of the Tang dynasty, calligraphies by Ouyang Xun, Yu Shinan, Chu Suiliang, and Xue Ji served as exemplars. They were followed by Yan Zhenqing and Liu Gongquan. The practice of inscribing running-script characters on steles began in the Tang dynasty, pioneered by Li Yong and Zhang Congshen. The cursive script, based on the "Two Wangs' Style", evolved into the wild cursive style represented by Zhang Xu and Huaisu.

The calligraphy style at the beginning of the Northern Song dynasty continued that of the Tang dynasty. The making and circulation of Chun Hua Ge Tie (The Compendia of Selected Calligraphy Works from the Imperial Archives of the Chunhua Reign) led to the flourishing of the study of model calligraphy. The "Two Wangs' Style" inspired reverence, resulting in the popularity of the running and cursive scripts. In the Northern Song dynasty, Su Shi, Huang Tingjian, Mi Fu, and Cai Xiang, known as the "Four Masters of the Song", the then most renowned calligraphers, all attained and demonstrated excellence in the running script. They are noted for the emphasis on individual aesthetics. In addition, Shen Liao was adept in the regular and running scripts with a refreshing and exquisite style. Zhao Ji, Emperor Huizong of the Song, valued the study of calligraphy and invented his own regular script style called "Shou Jin" ("slender gold"). In the Southern Song, Zhao Gou, Emperor Gaozong of the Song, was also renowned for his calligraphy that followed the style of Yu Shinan and Zhiyong. Wu Ju accomplished his works with rich ink, firm brushstrokes, and characters with balanced structures and bold openings. Zhang Jizhi wrote in a unique style with a bold manner. Many of the Song dynasty literati, such as Sima Guang, Wang Anshi, Lu You, Fan Chengda, Zhu Xi, Wei Liaoweng, Zhao Mengjian, and so on, also excelled at calligraphy but were remembered for their other achievements. 

During the early Yuan dynasty, Zhao Mengfu and Xianyu Shu esteemed the masters of the Jin and Tang dynasties and promoted the spirit of the Jin and the regulations of the Tang calligraphy, thus establishing a new calligraphy style of the Yuan dynasty. As a result, this trend set the style of the "Two Wangs" as the mainstream of calligraphy style. Zhao Mengfu was adept in various scripts, especially in the running-cursive and regular scripts. He also advocated the fusion of poetry, calligraphy, and painting. Zhao's calligraphy and theory had a profound influence, with such notable followers as Zhang Yu, Yu Ji, Zhu Derun, and so on. On the other hand, calligraphers such as Feng Zizhen and Pu Guang took a path different from that of Zhao Mengfu. They inherited the Song style that emphasized individual aesthetics and formed a firm style for the calligraphy circles in the Yuan dynasty. With the rise of the archaism trend, the study of ancient scripts revived and gave birth to the seal script and official script calligraphers including Zhou Boqi and Wu Rui. In the late Yuan dynasty, as wars broke out, a number of literati retreated from official careers and led a reclusive life, including Yang Weizhen, Lu Juren, and Ni Zan. They found their solace in calligraphy and achieved artistic mastery with distinctive styles.

Ming dynasty literati pursued the study of model calligraphy. From Hongwu to Chenghua reigns, Song Ke, Song Guang, Song Sui, Chen Bi, and Zhang Yu were renowned for their cursive script calligraphy. In this period, candidates with mastery of calligraphy could be recommended for the position of secretariat drafter. Thus, a group of taige script (established as the orthodox script for Ming government documents) calligraphers emerged, with Shen Du and Shen Can as their representatives. In the mid-Ming dynasty, the Wu School, centred in Suzhou and extended to surrounding areas such as Kunshan, Changshu, Songjiang, Jiading and Jiaxing, became prominent under the leadership of Shen Zhou, Zhu Yunming, Wen Zhengming, and Wang Chong, giving rise to the elegant style. In the late Ming dynasty, Dong Qichang, drawing upon strengths from various traditions, developed a refreshing and elegant style with profound influence. Other calligraphers, such as  Zhang Ruitu, Huang Daozhou, and Ni Yuanlu, gained their reputation for their strongly expressive style called the "eccentric style".

The Qing dynasty was a significant period in the history of calligraphy. In the early Qing era, calligraphers continued the styles of the Ming dynasty. From the Kangxi to Qianlong reigns, due to the emperors' favour of Dong Qichang and Zhao Mengfu, works created after model calligraphy were the mainstream, represented by calligraphers such as Weng Fanggang, Liu Yong, Liang Tongshu, and Wang Wenzhi.

From the Qianlong and Jiaqing reigns, the study of epigraphy flourished. The inscriptions on steles and antiquities became the source of learning and inspiration for calligraphers. The rise of stele calligraphy study introduced new techniques and aesthetic pursuits, with pioneers like Deng Shiru and Yi Bingshou. Later, Ruan Yuan, Bao Shichen, and He Shaoji further promoted the study of steles, thus bringing stele-style calligraphy to its peak. In the late Qing era, Kang Youwei summarized the principles of stele calligraphy study in his book Guang Yizhou Shuangji. Calligraphers like Zhao Zhiqian, Wu Changshuo, and Shen Zengzhi created a new artistic approach by integrating elements of stele and model calligraphy while balancing strength and elegance. 

At the beginning of the Republic of China, calligraphers continued the trend of stele calligraphy in the late Qing, deepening the theory and practice in this direction. Calligraphers like Li Ruiqing and Zeng Xi also began to reflect on and reconcile the model calligraphy and the stele calligraphy. The discoveries of oracle bones, Han dynasty bamboo slips, and documents in Dunhuang provided new references for calligraphers.

After the 20^th century, art in different disciplines all underwent profound changes. The constant advances in exhibition, education, and publication of calligraphy infused fresh vitality into the traditional calligraphy art. Calligraphers like Li Shutong organized calligraphy and painting societies and pioneered publishing periodicals. Yu Youren compiled the Standard Cursive Script, advocating the standardization of cursive script. Shen Yinmo, Bai Jiao, and others initiated a movement to return to the model of the "Two Wangs' Style". Pan Tianshou and Sha Menghai established the first calligraphy and seal carving major in universities, setting a precedent for higher education in Chinese calligraphy.