The regular script introduction of seven-character quatrain calligraphy works is as follows:

There are many seven-character quatrain calligraphy works in the Middle Eastern and Han Dynasties, such as "Mai Ge Ballad" and "Cheng Shang Dance" (Sima Biao) "Continuation of Hanshu·Five Elements"), "Huan Lingshi's Nursery Rhymes", and "Talented Scholars Exhibition" in the late Eastern Han Dynasty. Ge Hong's "Baopuzi: Juju" is a very lively, popular and fluent folk work with seven-character mixed characters. According to legend, Emperor Wu of the Han Dynasty once gathered a group of officials to compose a seven-character sentence. Bailiangtai.

Seven-character quatrain is a genre of traditional Chinese poetry, referred to as Qijue, and belongs to the category of modern poetry. This poem has four lines, each line has seven words, and has strict metrical requirements in terms of rhyme and adhesion. This style of poetry originated from Yuefu song lines in the Southern Dynasty or Yuefu folk songs in the Northern Dynasty, or can be traced back to the folk songs of the Western Jin Dynasty. It was finalized and matured in the Tang Dynasty. Representative works include Wang Changling's "Two Poems for Farewell to Xin Jian at Furong Tower", Li Bai's "Early Departure from Baidi City", and Du Fu's "Jiangnan Meets the Year of Li Gui".

The Tang Dynasty was an era when Chinese poetry flourished. Among the many excellent literary works of the Tang Dynasty, seven-character ancient poetry undoubtedly occupies an important position. The reason why Tang poetry became Tang poetry was largely due to the prosperity of Qigu in the Tang Dynasty. As an ancient poetry style, Qigu has gone through a long and tortuous development process, including ancient poetry, brush calligraphy and regular script, and finally matured in the Tang Dynasty.

Analysis and introduction of calligraphy works:

As a social phenomenon, the development of literature must be the result of social development, writer’s psychology, and the entire social psychology. The development of Qigu did not happen overnight. The poets of the prosperous Tang Dynasty integrated the practice of Qi Gu's creation in the previous life, which in turn benefited many teachers, and finally created the glory of Qi Gu.

The final preparation period for Qi Gu in the prosperous Tang Dynasty - the early Tang Dynasty. The former inherited the Han, Wei and Six Dynasties, and the latter inherited Qi Gu in the prosperous Tang Dynasty. Although Qi Gu's appearance did not completely change during this period, he was exactly the "Fourth Master" in the early Tang Dynasty. With the efforts of poet Qi Gu, Qi Gu has made the necessary preparations for the climax. In the early Tang Dynasty, the seven-character ancient poetry system was formally established.

From the Four Sections to Zhang, Li, Shen, and Song Dynasties, seven-character ancient poetry has experienced a slow evolution from form to style. Poets in the early Tang Dynasty all made their own contributions to the maturity and perfection of the seven-character ancient poetry, setting the precedent for the Qigu in the prosperous Tang Dynasty. Seven-character ancient poetry is referred to as Qigu. It is the most lively form, the richest genre, the freest processing of syntax and rhythm, and the most expressive form of lyrical narrative among ancient poems.

Mainly use seven-character sentences or seven-character sentences. Simply put, it means longer length, larger capacity, and flexible rhyme. For example, Du Fu's representative works of seven-character ancient poems are "Preface to the Sword Dance Ceremony of Guan Gong and Aunt Sun's Disciples" and "Danqing Presented to General Cao Ba". The emergence of seven-character ancient poetry provides a larger form for poetry and enriches the artistic expression of Chinese classical poetry.