南朝齐梁时期,庾肩吾通过《书品》建立了古代书法品评标准和发展秩序,为唐代太宗“尊王”提供了理论铺垫。从此以“大王”为楷模的书法格局成为“碑学”之前的常态化书法秩序。从包世臣开始,这种旧秩序一点点被动摇。包世臣不仅重新诠释了“五品”的内涵,而且以老歌新唱的方式通过《国朝书品》构建了属于自己的品评标准。这个标准充分折射出清人对清代书法新格局的需要。因此包世臣的《国朝书品》即为“国朝”的需要。首先,包世臣书学思想中“明源流、讲门户”的观念极 During the period of Qiliang Dynasty in Southern Dynasties, Shou Shou Wu established the standards and development order of ancient calligraphy evaluation through “Book Articles”, which provided a theoretical basis for Taizong “respecting the king ” in the Tang Dynasty. From then on “King ” as a model of the calligraphy pattern “Beishaoyu ” before the normalized calligraphy order. From Bao Shichen, this old order has been shaken a little bit. Bao Shichen not only reinterpreted the connotation of “five ”, but also established his own evaluation standard through the way of “old dynasty singing”. This standard fully reflects the Qing people’s needs of the new pattern of calligraphy in the Qing Dynasty. Therefore Bao Shichen’s “Dynasty Book” is the “national” needs. First of all, Bao Shichen book ideas in the “Mingyuan stream, talk about the portal ” concept pole