自东汉至初唐，支配书法史的强大艺术传统，在几百年间逐渐确立，中国传统社会的精英文人由此正式进入该系统，并以此自辩——“每一个士大夫都可以根据共同的标准来判断一件书法作品，哪怕两人地隔数千里、时隔数百年。书法却成了加强统治阶级联系的有力手段。”
董其昌（1555-1636年）字玄宰，号思白、香光居士，上海松江人。董其昌出身贫寒之家，但在仕途上春风得意，青云直上。公元1589年，（万历十七年）三十四岁的董其昌举进士，开始了他此后几十年的仕途生涯。当过编修、讲官，后来官至南京礼部尚书，太子太保等职。
Born in March 1948 in Beijing. In 1979， he was admitted as a graduate student of Professor Li Keran from the Department of Chinese Painting at the Central Academy of Fine Arts， majoring in landscape painting and calligraphy and seal cutting. In 1981， he won the first prize of Ye Qianyu's prize at the graduate graduation exhibition and stayed at the school to teach. He has successively served as the Director of the Calligraphy Research Office， Professor of the Central Academy of Fine Arts， Doctoral Supervisor， Advisor to the Academic Committee of the Academy， President of the Chinese Calligraphy Academy of the Chinese Academy of Art， Doctoral Supervisor of the Graduate School， Outstanding Expert of the Ministry of Culture， National Senior Professional Title Evaluation Committee of the Ministry of Culture， Vice President of Li Keran Academy of Painting， and so on.
唐朝时期书法家赵文审《楷书妙法莲花经卷》传世经典书法作品赏析。琴棋书画，古代被称作文房四艺，是文人墨客颇为称许的娱乐活动，古人认为，抚琴、弈棋、写字、作画，或者只是听琴、观棋、赏字、阅画，领会诗情画意，能赏心悦目，陶冶情操，有益于健康和长寿。
王镛，别署凸斋、鼎楼主人等，中央美术学院教授、著名艺术家。一九四八年三月生于北京，山西太原人。一九七九年考取中央美术学院中国画系李可染、梁树年教授研究生，攻山水画和书法篆刻专业，得到叶浅予、梁树年等先生的指导，一九八一年在研究生毕业展中获叶浅予奖金一等奖并留校执教。
一批阅安岐《墨缘汇观》的「名画卷」，可将其当作一部「南宗」谱系的画史来读，可以看出董其昌「南北宗」论的强烈影响。然而，《墨缘汇观》还有「法书卷」，由于董其昌没有勾勒出书法史的发展脉络，就很难说该书的这一部分也是「董其昌式」。这样，《墨缘汇观》的书画两卷便存在一个不对等的结构。
