As “Tiepai” Calligraphy works became the standard for the classical system - which has its own unique methods of interpretation – the cultural time and space and calligraphy’s classical model influencing each other formed an intertextual network. Through the mechanisms of power the highly aesthetic calligraphy handed down its classical network for later generations, taking the “Two Wangs’”- father and son’s – scholar style calligraphy as the main core. The nature of classical calligraphy has a diverse level of specific characteristics; and the Westernized system of aesthetic analysis offers an opportunity of its reinterpretation. Calligraphy can be divided into the triple form of hierarchy: on the first level we can talk about the calligraphy forms as writing apparatuses; the second level is the inherited system of brush usage, the structure and composition of writing, that is to say the classical works attached a great importance to well-knit brushworks and writing techniques, as well as elegance and grace. As to the third, which is the abstract level of demeanor and disposition of calligraphy, its field overlapping with the area of content, became the critical level of classical works. As for the content of the classical works that has its foundation in Chinese characters, are mostly literary works, their creative concept emphasizing the Confucian notion of Golden mean and gentleness. Until the Qing Dynasty, the school of stone tablet calligraphy (Beipai) esteemed the common people’s stele calligraphy of the North; the calligraphers replaced the importance of the ability grasping calligraphy’s intrinsic form with the absolute relationship of calligrapher and cultural qualities. With the transformation of this aesthetic ideal, the “Tiepai” Calligraphy was no longer the only classical system, the essential definition of calligraphy’s “form” and “content” also had changed.