Yuan and Ming Dynasties-Living in Tang, Cheng and Song Dynasties

In the Yuan Dynasty, due to the fierce class and ethnic conflicts, the economy and culture were damaged, and calligraphy advocated the study of Song Dynasty. Calligraphy prevailed and calligraphy and painting were the same. The pavilion system restricts the development of calligraphy. So although it has developed, it lacks innovation and has no own style of the times. Zhao Meng can be called a generation of religious workers. He studied the Tang Dynasty and then lived in the Jin Dynasty. Although he was not as successful as Yan Liu, his appearance made the whole Yuan Dynasty not unknown in the development of calligraphy art for nearly a hundred years.

The emperors of the Ming Dynasty advocated legal posts, so they were still popular. Scholars are good at cursive script. They study calligraphy seriously in order to get the official position of imperial edict, thus forming an atmosphere in which scholars attach importance to calligraphy and painting. This atmosphere is arty, especially cherishing ancient posts, Gu Mo, ancient sayings and ancient paintings, and enjoying ancient calligraphy and painting. At the same time, most calligraphers' poems and paintings are meticulous and integrated, and their formal beauty is almost better than that of Tang and Song Dynasties. It is this tendency that makes the calligraphy of the whole Ming dynasty tend to be vulgar and elegant, and its charm is greater than simplicity.

Zhao, a famous calligrapher in Yuan Dynasty, should be recommended first. His calligraphy is beautiful in ancient and modern times, and his regular script is on a par with Yan, which is known as Yan's style. Representative works include Great Bei Bo and Sanmen Collection. Xiao CuO is the author of Ode to Luoshen and Biography of Ji An, and his running scripts include Qian and Du Xuan. Great calligraphers in Yuan Dynasty once made fun of Guan (⑾).

Famous calligraphers in Ming Dynasty can be divided into three periods: early, middle and late. In the early Ming Dynasty, there were three Song Dynasties and two Shen Dynasties: Song Ke, Song Jin, Shen Meili. During the Song Dynasty, Song Ke had a high level, and Er Shen was a cabinet calligrapher. In the middle of Ming Dynasty, Zhu Yunming, Wen Zhiming and Wang Chong were the representatives. They suggested that Zhao Meng spy on Jin and Tang Dynasties and put it into practice, which made calligraphy creation flourish. Unfortunately, they failed to turn the situation around. There were four great masters in the late Ming Dynasty, namely, Dong Qichang, Xing Dong and Mi He. Among them, Dong Qichang has the greatest influence, and his masterpieces include cursive script, Li Bai's poems and drinking alone with the moon, Su Shi's poems and Nostalgia on Red Cliff.

In Yuan Dynasty, calligraphy theory's works included Chen Yizeng's An Important Catalogue of Hanlin, Sheng's Calligraphy Examination and Shu Gou Hai, among which there were many insights. Calligraphy theory's works in Ming Dynasty mainly include Xiang Mu's Calligraphy Elegant Words, Feng Fang's Calligraphy Strategies, Yang Shen's Mo Chi, Tao's Book History Society and so on.