Abstract: The calligraphy theory of the Qing Dynasty is of great significance in the history of ancient Chinese calligraphy theory. On the one hand, the rise of the stone-borne calligraphy turns a new leaf in Chinese calligraphy theory, and has affected the calligraphy creation since the Qing Dynasty. The stone-borne calligraphy, represented by Ruan Yuan, Bao Shichen and Kang Youwei, had an important influence from the Qing Dynasty to the modern times. On the other hand, the paper-borne calligraphy was further developed in the Qing Dynasty, with the emergence of such a comprehensive work as Shu Gai(《书概》, A Summary of the Calligraphy Theories), which made a great summary of Chinese classical calligraphy theory from the macro perspective of classical calligraphy. Having inherited and developed the description method of the Ming Dynasty, the description of calligraphy and painting in the Qing Dynasty described calligraphy and painting together, reflecting the appreciation and integration of ancient Chinese calligraphy and painting with more distinct characteristics of the same volume and method of calligraphy and painting.

Key words: the Qing Dynasty; the paper-borne calligraphy; the rise of the stone-bornecalligraphy; Shu Gai