No matter Cai Xiang, who is a talented and innovative person, Su Dongpo and Huang Tingjian, who admire the ancients, and Mi Fei, who dares to take risks in No.3 Middle School, they are all trying to show their calligraphy style while highlighting an unconventional posture, which makes the learning atmosphere gloomy and sandy between pen and ink and gives people a new aesthetic mood. Wu Shuo, Lu You, Fan Chengda, Zhu and Wen Tianxiang in the Southern Song Dynasty further developed this theory. However, the Southern Song Dynasty calligraphers' knowledge and pen and ink skills can no longer be compared with those in northern Song Sijia.
Calligraphers in Song Dynasty were represented by Su, Huang, Mi and Cai. At the beginning of Yuan Dynasty, there was little economic and cultural development, and the overall situation of calligraphy was advocating retro, patriarchal clan system in Jin and Tang Dynasties, and less innovation.
Although politically, Yuan Dynasty was ruled by foreigners, culturally, it was assimilated by China culture. Different from the pursuit of artistic conception in the Song Dynasty, the intention of the Yuan Dynasty is to pursue the beauty of openness. Therefore, Su Shi flaunted that "my mind is not a book" and Zhao Mengfu advocated that "it is not easy to use a pen through the ages". The former pursues the meaning of speed, and then emphasizes the meaning of intention.
Zhao Mengfu was a key figure in Yuan Dynasty, and his regular script "Zhao Ti" was called "four styles" with the European style, Yan style and Liu style in Tang Dynasty, which became the main style of calligraphy in later generations. Because Zhao Mengfu's calligraphy thought is definitely not one step ahead of Wang's, his calligraphy has a unique understanding of the essence of Wang's calligraphy. Its characteristics are "Wen Ya" and "elegant" style, which is also related to Thaksin's tendency to be elegant and detached, hoping to get a spiritual liberation. Xian Yushu and Deng Wenyuan were also famous in the Yuan Dynasty. Although his achievements are not as good as Zhao Mengfu's, he also has his own uniqueness in calligraphy style. They advocate the same method of calligraphy and painting and pay attention to the posture of writing.
Looking at the calligraphy in the Yuan Dynasty, the characteristic of the calligraphy in the Yuan Dynasty is "respecting the ancient and the post". His great achievements are still in cursive script. As for turning profits, although there are several famous artists, they are not very good. This kind of calligraphy with lines and cursive script as the mainstream didn't change until the Qing Dynasty. There was a style of calligraphy in Yuan Dynasty, which still prevailed in calligraphy from Song Dynasty to Tang Zongjin. Although they have their own merits, they can't stand as a family in calligraphy. Compared with literature, painting and other arts, it is far from successful. 1, the first stage-early Ming:
In the early Ming Dynasty, calligraphy was characterized by "one word with many images" and "Taige style" prevailed. Brother Shen helped push the stable lower case to the extreme. "Every gold edition of the jade book is used by the imperial court, hidden in the secret room, and the book is awarded to the country." Er Shen's calligraphy is regarded as a model of imperial examination. In the early Ming Dynasty, there were Liu Ji who was good at cursive script, Song Liao who was good at seal script, Song Lian who was good at seal script, Zhu Ke, a famous Cao Zhang master at home and abroad, and Zhu Yunming, Wen Huiming and Wang Chong.
2, the second stage-Ming:
In the middle of Ming Dynasty, four schools of Wuzhong emerged, and calligraphy began to develop in the direction of business. Zhu Yunming, Wen Zhiming, Tang Yin and Wang Chong took the Supreme Law from Zhao Mengfu to Jin and Tang Dynasties. The style of writing is also peerless, which is related to the development and liberation of thought at that time, and calligraphy began to enter a new realm of advocating individuality.
3, the third stage-late Ming dynasty:
There was a critical trend of thought in calligraphy in the late Ming Dynasty, which pursued large-scale and shocking visual effects, borrowed the momentum from the side, spread it horizontally and vertically, and covered the paper with smoke, which made the original order of calligraphy begin to collapse. Representative calligraphers are Huang Daozhou, Wang Duo and Ni. Dong Qichang, commander of Tiexue Temple, still sticks to the traditional position.