The Ming and Qing Dynasties were one of the golden periods of China's calligraphy development. Zhu Ming dynasty took a series of measures to appease the world and consolidate the political power. In order to attract scholars, "China Calligraphers" were specially established, and some scholars became calligraphers used by the imperial court because of their good books. The emperors in Ming Dynasty attached importance to calligraphy, and the ruling and opposition parties respected calligraphy posts, so calligraphy posts prevailed and became a continuation of the calligraphy style in Yuan Dynasty. Calligraphers in Ming Dynasty have shortcomings in inheriting tradition, but they want to innovate, and they can't get rid of Zhao Meng's annoying calligraphy style. The popularity and influence of "Taige Style" made the book world in the early Ming Dynasty dull. It was not until the Chenghua and Hongzhi periods around the middle of the Ming Dynasty that Taige calligraphy gradually came to a dead end and became lifeless. Calligraphers also realized the harm of Taige style and turned to learn from Jin and Tang Dynasties. The calligraphy style aimed at relaxing mood and expressing personal feelings gradually became the mainstream in the middle and late Ming Dynasty, and the calligraphy circle reappeared a few bright colors. Before Jiaqing and Daoguang in Qing Dynasty, following the rules of Yuan and Ming Dynasties, calligraphy was monopolized by Iron Studies. Dong and Zhao, who started from the study of iron, are the main targets, and their generous atmosphere and rich style have successively unified the calligraphy circle. This is closely related to the personal calligraphy preferences of Kang, Yong and Gan san huang. Due to the requirement of imperial examination and the promotion of official career in Qing Dynasty, the "black and generous" pavilion style flooded, thus losing its due artistic life. It not only influenced the development of calligraphy art, but also broadened the horizons of calligraphers and scholars objectively, changed their aesthetic concepts and pushed the study of steles to the forefront of the historical stage. After Jiaqing and Daoguang, because of the rise of stele study, on the one hand, it led to the revival of Zhuanli, on the other hand, it also led to the loss of the dominant position of the iron study system dominated by the two kings for thousands of years. The rise of epigraphy can replace epigraphy and make the aesthetic trend change from romantic, elegant and neutral to rough, bold, strong and simple. Calligraphy in Qing dynasty stood out among seal script, official script and northern tablet style, and finally achieved a generation of calligraphy style. Due to the initiative of literati, seal cutting was revived in Ming and Qing Dynasties. Since Wen Peng discovered Qingtian Stone in the middle of Ming Dynasty and became the best material for literati to directly "engrave words", seal cutting has been mentioned as an equally important position as poetry, calligraphy and painting by literati, and it has become an art that people have been striving for, with excellent works like clouds and various schools.
Second, the Ming Dynasty calligraphers
1. "Three Songs and Two Applications" in the Early Ming Dynasty
(1327— 1387) Wu (now Suzhou, Jiangsu) was born. I am diligent in studying books. Regular script originated in Wei and Jin Dynasties, and I am a saint in Xiao Ke. I got the method of Zhong and Wang, and my pen is refined and has outstanding charm. Cao Zhang, in particular, has made great achievements. Cao Zhang, modern grass and wild grass are combined in one furnace, which is unique. His ink handed down from ancient times, urgent chapter, is a masterpiece. Song Ke's younger brothers, Song Lian (Zhong Heng) and Chang Ben (Chang Ben), are both famous for cursive writing. The two brothers, (real name Min Ze) and Shen charm (real name), are called "Bachelor of Size" and "(now Songjiang County, Shanghai)-Shen". Shen Du was called "I am Wang Xizhi" by Judy, the founding emperor of the Ming Dynasty, and his calligraphy was elegant. Famous calligraphy relics include Jing Zhai Zhen in regular script, Yong Weng Shen Da Jin Zhan in cursive script and some "Taige style" calligraphy works. Shen Yunshan is good at writing regular script, especially in composition.
2. The "Four Masters of Wuzhong" in the Middle Ming Dynasty
In the middle of Ming Dynasty, the capital moved north, but the cultural center was still in the south, with the largest number of Suzhou calligraphers, forming the "Wumen Calligraphy School" with outstanding regional calligraphy style. The "Four Masters in Wuzhong" are outstanding representatives of the "Wu School of Calligraphy", including Zhu Yunming, Wen Zhiming, Wang Chong and Chen Daofu. Zhu Yunming (1406- 1526) was originally named Xizhe.
Wen Zhiming: The preface to Teng Wang Ge was born with a little finger next to his right thumb. His calligraphy knowledge is extensive and his traditional kung fu is profound. He is good at truth, movement and cursive script, especially cursive script, full of charm and innocence. He is known as "the first person in cursive script in Ming Dynasty". His representative works include Red Cliff in Myanmar, Peace of Iliac Gods, Poems of the People, etc. Wen Zhiming (147 Bu 1559) was first named as a wall, whose characters were characterized by Ming and had lines, but later it was changed to the middle of the word, and it was named as a lay Hengshan. /kloc-at the age of 0/9, he took the provincial examination and was awarded the third grade because of his poor handwriting, so he took revenge by learning calligraphy in a rage. Wen Zhiming is proficient in poetry, calligraphy and painting. Calligraphy: [Four-style, lower case and cursive script are preferred. His running script is skillful, charming and tall, and he is known as "the king's version of the holy religion". Representative works include Zuiweng Pavilion, Preface to Wang Tengting Pavilion, Poems on Red Cliff, Poems on Smoke and Water in Shihu, etc. Wang Chong (1494- 1533) was born in Yalu Mountain. Known as the three wonders of poetry, calligraphy and painting, he is good at small letters and cursive scripts. It combines the extraordinary rise of Zhu Yunming and the elegance of Wen Zhiming, and its brushwork is elegant and delicate. The representative works of regular script are Ban Jun's Seven Prefaces and Congratulatory Poems, and cursive script is a collection of poems written by himself. Chen Daofu (1483-154471482-15397) is a native of Baiyangshan. He is good at painting and calligraphy in five aspects, including Du Shi Juan, Cao Shu Shi Juan and Qiu Xing Shi Juan.
3. Bookstore tomorrow night
Dong Qichang (1555- 1636)
The word Xuanzai, No.4 Bai, No.4 Xiangguang layman, was born in Huating, Songjiang (now Songjiang County, Shanghai). Calligraphy has three parts from Tang Dynasty to Jin Dynasty: type, line and grass. The pen is leisurely and elegant, the layout is sparse and chic, and the book style is elegant and smart. Calligraphy is popular all over the world and has many followers. Famous works handed down from ancient times include regular script, cursive script, seven-character book, pipa poem volume and so on. Dong Qichang was a leading figure in the book circle in Ming Dynasty.
Zhang Ruitu: Long character, no painting, Ershui, Guoting Mountain Man, Mustard Seed, Master Bai Haoan, Master Bai Haoan, etc. Han nationality, a native of Xia Xing Township (now Xialianhua Island in Qingyang Town), the 27th capital of Jinjiang. His cursive brushwork is unique, with long and exposed strokes, heavy horizontal structure and strong sense of rhythm. His works mainly include ◇ Tufu Qiuxing's eight poems ◇ and ◇ Li Bai's poems sitting alone in Jingting Mountain ◇.
. Huang Daozhou (1585- 1646) was born in Zhangpu, Fujian. His book is pale and concise, sharp and astringent. Ni (1593- 1644), a native of Shangyu, Zhejiang Province, whose books are quaint and elegant. Both Huang and Ni were warriors who died for the Ming Dynasty. Because of the importance of books, their handed down works seem to have a sense of detachment (pictured).
Wang Duo (1592- 1653) was born in Henan. He was a scholar with Huang and Ni in the same year. He is an outstanding calligrapher and has the reputation of "Wang Duo" who wrote poems by Wang Duo. However, he was despised by ugly people because he was a second minister. Its calligraphers are old and new, lifting weights lightly, using pens freely, handsome and natural. There are many masterpieces handed down from generation to generation, such as Women in the Mountain Garden, Langhua Pavilion Post, Yueting Towel Phenol, Poem Volume from Book, etc.
Fu Shan (1607- 1684) was originally named, and later renamed Shan, his real name, his real name, his real name, Taoist priest, etc. He is from Yangqu, Shanxi. He is good at calligraphy and painting and seal cutting, and refuses to be an official all his life. Cursive writing is ingenious and clumsy, and it is natural. His calligraphy advocates that "Ning Zhuo should not be artful, rather ugly than flattering, rather broken than smooth, rather true than exclusive", which can be regarded as the origin of epigraphy in Qing Dynasty.
Third, calligraphers in Qing Dynasty.
1. In the early Qing Dynasty, when the calligraphy circle was shrouded in post-learning, Jin Dongxin and Zheng Banqiao, who were unconventional and unique, were mainly Jin Nong and Zheng Xie in the "Eight Eccentrics of Yangzhou". Jinnong (1678- 1764) was originally named Sinong, whose name was Shoumen, whose name was Jinji, whose name was Dongxin, and whose name was Renhe, Zhejiang (now Hangzhou). His calligraphy is better in official script and regular script. The book is called "Lacquer Book". The pen is flat as a brush, and the ink is thick as lacquer, which is unique. Zheng Xie (1693— 1766) was born in Xinghua, Jiangsu. His calligraphy, Li, Kai, Xing and Cao, are interrelated, and with his brushwork, he calls himself "six and a half books". Its book structure is innovative from time to time, and its style is lively and free and easy, so it is also known as "disorderly stone pile".
Liu, Liang, Wang and Weng
Liuyong (17 19— 1804) was born in Zhucheng, Shandong. His calligraphy is vigorous and powerful, absorbing the essence of Zhong Taifu and Yan. At first glance, it is round and smooth, but after repeated aftertaste, it has clear bones and strong connotations. Among the four schools, his achievement is the highest, and Kang Youwei thinks that "Shi 'an is the merit of collecting vocational studies". Liang (1723— 18 15) was born in Qiantang, Zhejiang. Small print is also good at breaking big characters, and books are better than others, but their bones are slightly weak.
Wang Wenzhi (173 Bu 1802) was born in Dantu, Jiangsu. Calligraphy, which originated in Mi and Dong, is exquisite and vigorous, making people beautiful (pictured). Contrary to Liu Yong's use of ink, he likes to use light ink, so there is a saying that "thick ink is the prime minister, and light ink explores flowers." Weng Fanggang (1733— 18 18) was a native of Xiqin, followed by Su Zhai and Wan Ping (now Beijing). His calligraphy was more powerful than others and was valued by people at that time.
3. Deng (1743 ——1805) was a famous calligrapher who inscribed the inscription, whose real name was Yan, and later became a stubborn person with the word "Xing", whose name was Huaining, Baishan, Anhui. Calligraphy is about work, especially seal script. Deng was a master of epigraphy in Qing Dynasty, and Weng Fanggang and Zhao called "the mountain people the first in national history". Its seal script can break through the old rules of Yujin seal script and be mixed with official script, which created a new way of seal script in Qing Dynasty and influenced many calligraphers of stele studies. Cursive script and regular script are also both rigid and flexible, each with its own characteristics.
Yi Bingshou (1754— 18 15) is similar in word group, with the numbers Mo Qing and Mo 'an, from Ninghua, Tingzhou, Fujian. The most important calligraphy is that Kang Youwei thinks it can be compared with Deng, the two founders of epigraphy in Qing Dynasty. His calligraphy is dignified, generous, broad, handsome and graceful.
He (1799- 1873) is a native of Daozhou, Hunan. Calligraphy was famous for a while and was once rated as the first in the Qing Dynasty. His calligraphy can learn from others, with unique brushwork and skillful fine grinding. He stood up and said, "All his points are based on seal cutting, such as bending iron vines and shocking rocks, which is really enough for a hundred generations." Zhao (1829— 1884) was born in Shaoxing, Zhejiang Province, and was originally named Tieshan. He was a famous painter and seal engraver in Qing Dynasty. In calligraphy, two kings and Yan brushwork are used to write four styles, which is different from the brushwork of the Northern Wei Dynasty and has a wide influence.
Fourth, calligraphy theory in Ming and Qing Dynasties.
In Ming Dynasty, calligraphy theory directly inherited Zhao Meng's book-weariness theory. The elegance pursued by Zhao was further strengthened in the theories of Feng Fang, Xiang Mu and others in the Ming Dynasty. Xiang Mu put forward the aesthetic view of "neutralization". Dong Qichang further interpreted "Sino-American harmony" as "plain and naive" and put forward an aesthetic view with "lightness" as the core. Calligraphy theory's famous works include: Tao's Book History Society, Tao's Calligraphy Interpretation, Feng Fang's Calligraphy, Yang Shen's Qinghe Calligraphy Boat, Xiang Mu's Calligraphy Elegant Words, Dong Qichang's Hoe Zen Hall and so on.
Like calligraphy, calligraphy theory made remarkable achievements in Qing Dynasty. Fu Shan's theory of "Four Ning and Four No's" became the forerunner of epigraphy in Qing Dynasty. Ruan Yuan's North-South Calligraphy School and Bao's Double Collection of Clear Boat. Liu Xizai's "Outline of Calligraphy" holds that each tablet has its own strengths, and the tablets should complement each other to facilitate the development of calligraphy. Feng Wu's True Story of Calligraphy, He Jiang's Authentic Calligraphy, Zhou Xinglian's My Humble Opinion on the Pond, Feng Ban's Blunt Poem, Song Cao's Calligraphy about Characters and Gui Liang's ballad Foot Rust are all good calligraphy works. Fifth, calligraphers with artistic characteristics have commented that "Yuan and Ming Dynasties are still in the state". Retro style prevailed in the Yuan Dynasty, and it did have obvious characteristics of advocating style in the Ming Dynasty. In the early Ming Dynasty, calligraphy was based on calligraphy, with small letters in an ethereal style and soft cursive style, and "posture" was a particularly lacking kitsch posture in calligraphy. Later calligraphy attempts to trace back to the Jin and Song Dynasties, but most of them failed to get rid of the shackles of Zhao Shu, and only sought to express their beauty with pen and ink, among which there were many masterpieces with delicate manners. Calligraphy in the last semester of the Qing Dynasty inherited the calligraphy style of the Yuan and Ming Dynasties, which is not commendable. After the great development of "stele study", an upsurge of innovation and change was set off. The book style swept away the habit of being good at learning and becoming an official, and flourished with a strong and lofty style, especially winning by momentum.