Wen Zhiming (AD 147-1559) was famous for his calligraphy. At the beginning, he learned from Li Yingzhen (Zhu Yunming's father-in-law) the calligraphy of the two kings. In his later years, he was fond of books and grass, and he was innovative. His regular script has profound skill, rigorous style, and the small script takes the charm of two kings, and the structure is freely put in and out, with proper density, and the pen is vigorous and refreshing, showing exquisite calligraphy skills. The cursive script comes from Wang's family style, with profound skill and gentleness. In his later years, the cursive script was combined with Huang Tingjian's brushwork, which revealed the old meaning in elegance, and the brushwork was vertical and horizontal without losing the purpose of tenderness. Dong Qichang: (A.D. 1555-1636), with the word Xuanzai, and the word Thinking White, was named Xiangguang layman. Huating (present-day Songjiang, Shanghai) is a master calligrapher, whose calligraphy is inspired by the ancients. The style of his works is rich and varied. He learned from the ancients and paid attention to the embodiment of the inner spirit without seeking external appearance. He studied the structure, brushwork and composition, forming an elegant and delicate calligraphy style. The literati calligraphy he created had a great influence on calligraphers in the Qing Dynasty. Xu Wei: (AD 1521-1599) was born in Tianchi, Qingtengshan and Shanyin (now Shaoxing) in his later years. His calligraphy had the legacy of Huang Tingjian and Mi Fei in his early years, but in his later years, he became bold and full of paper. He was good at cursive writing, and his brushwork was messy, which seemed impossible, but his brushwork was full of effort. Seeking balance in the turmoil, dripping ink is like a portrayal of his life. Wang Duo: At the end of Ming and the beginning of Qing Dynasty, his calligraphy was famous for his boldness and composure. His calligraphy was good in all aspects, such as script, line, cursive script and official script. The official script was full of ancient meaning, and the script was calm and square, and his cursive script was the highest achievement, which also best reflected his artistic style. He was a beginner of two kings, learning from Zhong You in small letters, and then learning from the Tang and Song Dynasties. He learned from others' strengths and became a whole. His pen was continuous and thick, with a dense structure and fantastic meaning. He wrote freely and heartily, and his style of writing had a great influence on later generations, especially in contemporary China and Japan. His masterpieces include Four Poems of Running Script and Du Fu's Poem Volume. Fu Shan: (A.D. 166-1685) was born in Shanxi Yangqu (now Taiyuan). Calligraphy is true, anti-slavery, and advocates that "Ning Zhuo should not be clever, rather ugly than flattering, rather fragmented than smooth, rather rash and not arranged." His cursive script typically embodies this idea. He is good at all kinds of calligraphy, has a profound skill in seal script, catches up with Zhong Wang in small letters, and has studied many people in Jin, Tang, Song, Yuan and Ming Dynasties, forming the aesthetic thought of "books are important to people." The cursive pen is vertical and high, the front is tumbling, and the structure is ups and downs. He often uses the contrast of big rhythm to create the momentum of composition, the density between words and lines, and the ups and downs of opening and closing. Writing is either crude or smooth, which makes people feel that the wind is sometimes lingering and sometimes full of enthusiasm. It shows the inner world full of sincere feelings through the scattered paper, which is touching and gives people a profound artistic appeal.