Calligraphy Art from Ming Dynasty to Late Qing Dynasty

In the late Ming and early Qing dynasties, the mainstream of aesthetics was based on lyricism, pursuing individuality and advocating rationality, and orthodox classical aesthetics coexisted with new aesthetics of seeking differences. The overall tendency of calligraphy in Qing Dynasty is to emphasize quality, which is divided into two development periods: paste learning and stele learning.

In the late Ming dynasty, the unrestrained and cynical atmosphere in the book world was further continued in the early Qing dynasty. For example, the works of Zhu Fushan and others still show their inner life, an elusive emotional expression. This point reappeared in the mid-term "Yangzhou Eight Eccentrics".

At the same time, the post-Ming learning has been further developed. While respecting tradition, Jiang Ying, Zhang Zhao, Liu Yong, Liang, Weng Fanggang, etc. all tried to show a new look, or wrote in light ink or changed the composition. However, due to the inheritance of the post in the senior year, there is no good cleaning, understanding and adjustment, and some accumulated disadvantages are deepening day by day, making the decline of post learning inevitable.

At this time, more and more epigraphy was unearthed, and the literati turned from keen on letters to engaged in epigraphy research. For a time, inside and outside the government, there was a great demand for learning monuments, which eventually became a stream of democracy in the Qing Dynasty. In addition, Ruan Yuan, Bao Chen Shi, Kang Youwei, etc. vigorously publicized that stele study exists as a calligraphy system, which competes with calligraphy study. Famous calligraphers at that time, such as Jin Nong, Deng, Zhao, Wu Changshuo, Kang Youwei, etc. , have inscribed inscriptions on paintings, and achieved a brilliant and dazzling situation.