康有为在书法上力倡北碑，其书自成一格。康体书写上以平长弧线为基调，转折以圆转为主，长锋羊毫所发挥出的特有的粗茁、浑重和厚实效果在他书作中有很好的体现，迥然异于赵之谦的顿方挫折、节奏流动，也不同于何绍基的单一圆劲而少见枯笔，这是他的别开生面处。至于线条张扬带出结构的动荡，否定四平八稳的创作，也是清代碑学的总体特征表现。就创作形式上来说，以对联最为精彩，见气势开张、浑穆大气的阳刚之美。逆笔藏锋，迟送涩进，运笔时迅起急收，腕下功夫精深，从中也可以看出康有为的运笔轻视帖法，全从碑出。转折之处常提笔暗过，圆浑苍厚。结体不似晋、唐欹侧绮丽，而是长撇大捺，气势开展，饶有汉人古意。也有人认为这是表面上虚张声势的火气。潘伯鹰先生评说康有为的字“象一条翻滚的烂草绳。”认为康有为线条没有质感，滥用飞白，显得很虚浮。康有为在笔法上力倡圆笔，反对方笔，这是造成他笔法单调的一个很重要的原因，常常起笔无尖锋，收笔无缺锋，也无挫锋，提按不是很明显，线条单一，缺少变化。粗笔时见松散虚空，不够凝敛紧迫，当是一病。用墨上缺少变化，表现形式不足，起笔饱蘸浓墨，行笔中见飞白，仅此而已。从他的中堂作品来看，章法方面落款常有局促之意，这是对帖学否定所致，实质上他早年日课，还是以欧虞为主的。

十五年（1889年），康有为著成《广艺舟双楫》一书，从理论上全面地系统地总结碑学，提出“尊碑”之说，大力推崇汉魏六朝碑学，对碑派书法的兴盛有着极其深远的影响。符铸云：“南海于书学甚深，所著《广艺舟双辑》颇多精论。其书盖纯从朴拙取境者。故能洗涤凡庸，独标风格。然肆而不蓄，矜而益张，不如其言之善也。”

Kang body, referring to the famous thinker Kang Youwei's unique style of calligraphy, academia, also known as the body as "broken body." Kang Youwei (1858-1927), Guangdong Nanhai people. Word mansions, the number of long elements, but also rejuvenation, do not Xiqiao Hill people, day Tour of people, the WHO said Kangnan. Old age and died in Qingdao.

Calligraphy features

Kang Youwei in the calligraphy advocates the North monument, the book itself into a grid. On the basis of flat and long arcs, the main body of the sports and recreation has been changed from round to round, and the long-winded play of the long front has a good effect on his works. Zhao Qian of the party setback, rhythm flow, but also different from He Shaoji's single round strength and rare pen, which is his unique. As for the line Zhang Yang out of the structure of the turbulence, negate the creation of cottage, but also the overall performance of the Qing Dynasty monument learning. On the creative form, the couplet is the most exciting, see the momentum opened, muddy Mu masculine atmosphere of the United States. Reverse pen possession of front, late delivery Shibujin, Yunpeng Xunqi urgent income, the wrist under the kung fu profound, from which you can see Kang Youwei the pen to ignore the posts, all from the monument out. The turning point often used to mention the dark, round muddy thick. The body is not like Jin, Tang 欹 side of the beautiful, but long write-off large Na, the momentum to carry, with Han Chinese old-fashioned. Some people think that this is the surface of the bluff of the anger. Mr. Pan Bo Ying commented Kang Youwei's words "like a rolling rotten rope." Kang Youwei that the line without texture, the abuse of flying white, looked very vain. Kang Weiyi in the pen to force the pen, the opponent pen, which is caused by his monotonous monotonous a very important reason, often starting without sharp front, pen without missing front, and no frustration, mention is not very obvious, a single line , Lack of change. When the coarse pen see the loose void, not enough convergence of urgency, when a disease. The lack of change with the ink, lack of expression, starting pen saturated with ink, see the white pen, nothing more. Judging from his work of the Central Committee, the inscriptions are often cramped insignificant meaning, which is due to the negation of posts, in fact, his early Japanese classes, or to the European-based.

Calligraphy

In fifteen years (1889), Kang Youwei wrote a book entitled "Guangyi Zhou Shuangji", which comprehensively and systematically sums up the monument learning in theory and puts forward the idea of "respecting the monument". The development of calligraphy has a far-reaching impact. Fu cast cloud: "the South China Sea in the book is very deep, the" Guang Yi Zhou Shuangji "a lot of fine theory.The book covers pure from the Puzhuo take territory, it can wash Fan Yong, single standard style.However, Jin and Zhang, not as good as their words.