Chinese calligraphy has been practically guided by its theory, which consists of pieces of essays from ancient times. Some of them are as short as few words and some of them are in lengthy chapters. Parallel to the development of the art itself, these essays can be marked off into five stages.

1. Han.   The Chinese were aware of the aesthetic quality of handwriting around the seventh century BC. However, it was not until the end of the Han that a series of articles were published, laying the foundation of Chinese calligraphy.
2. Jin.   Technical guidance was eagerly sought and theoretical exposition was paid great attention during the Jin when handwriting was taken an art form. The form of brushstroke was formulated and the disciplines of handwriting were probed, by which the rules of Chinese calligraphy were established.
3. Tang.   Theoretical writing flourished as the practice of calligraphy began to be popular during the Tang. The essays from this period are essentially the extension of Jin's subject but in detailed discussion and systematical exposition.
4. Song.   During considerable social troubles in the Song, Chinese scholars put forth a fresh challenge to the traditional thought. They maintained that calligraphers should not be fettered by established standard, nor preoccupied with technical details, but make calligraphy an unchecked expression by which the qualities in a scholar could be manifested.
5. Qing.   Many Han stone inscriptions were unearthed during Ming and Qing period. Realizing that the Han script had been neglected for centuries, Qing scholars strove to emphasize its antiquity, resulting in popular interest in pre-Tang scripts.