The most striking feature of calligraphy in Ming Dynasty is to follow the paste method, so many people are good at writing cursive script. In particular, most emperors in the Ming Dynasty loved calligraphy, which made the atmosphere of learning and posting more prosperous.
Because there are many people who study dharma and are bound by legal posts, there are few famous calligraphers in Ming Dynasty, and most of them are better than Zhao Meng in Yuan Dynasty. The most famous are Wen Weiming and Dong Qichang. Calligraphy in Qing Dynasty was divided into two periods, with Qianlong as the boundary. In the early days, the trend of post-learning was still prevalent.
Emperor Kangxi admired Dong Qichang's calligraphy and learned to imitate Dong Qichang's calligraphy from top to bottom. Emperor Qianlong liked Zhao Meng's ci, and both inside and outside the imperial court went to learn from Zhao Ti.
Since the rulers of the Qing Dynasty set up a literary inquisition, people were not allowed to publish articles and comments casually, many scholars began to study epigraphy and archaeology, which provided a new opportunity for the development of calligraphy. At the end of the Qing Dynasty, that is, after Jiaqing and Daoguang emperors, the style of calligraphy gradually declined, and the style of learning to write Wei Bei began to prevail.
Calligraphy in the middle of Ming dynasty;
In the mid-Ming Dynasty, with the prosperity of economy and the great development of handicrafts, prosperous cities appeared constantly. The new citizen class has made contributions to traditional culture, especially in areas where literati are concentrated, and the art of calligraphy has developed by leaps and bounds. A large number of calligraphers appeared at that time. At that time, there was a saying that "the calligraphy in the world belongs to Wu" (Wang Shizhen in Ming Dynasty).
In the period of Chenghua and Hongzhi, Tiger calligraphy gradually entered a dead end, becoming rigid and lifeless. Calligraphers also realized the harm of Taige style and turned to learn from Jin and Tang Dynasties. Calligraphy style, which aims at relaxing mood and expressing personal feelings, began to resurface in the middle and late Ming Dynasty and gradually became the mainstream.
Calligraphy in this period can be divided into two stages: the gradual disappearance, transition and transformation of Taige style in Chenghua and Hongzhi periods, represented by Li Dongyang, Shen Zhou and Wu Kuan; During the period of Zheng De and Jiajing, Wumen calligraphy was the main body, which truly represented another prosperous period of calligraphy in the middle of Ming Dynasty. Represented by Zhu Yunming, Wen Zhiming, Wang Chong and others.