In the early Ming Dynasty, calligraphers were famous for their "Three Song Dynasties"-Song Ke, Yi Song, Song Guang and "Er Shen"-Shen Du and Shen Shen brothers. In the "Three Song Dynasties", Cao Zhang, Song Ke was the crown of the Ming Dynasty and had the greatest influence. Representative works include Urgent Chapter, Sun Pu Shu, Poems of Tang and Song Dynasties, etc. Song Yan's seal script and Song Guang's Cao Zhang also showed their outstanding personalities. Among the "Er Shen", Shen Du's regular script is the most skillful, and he was praised by Emperor Taizong of Ming Dynasty as "Looking forward to Wang Xizhi", and his running script is also beautiful and refined. Shen's charm is careless and his writing is extraordinary. In addition, Jie Jin's regular script and cursive script, Li Dongyang's seal script and cursive script are impressive.
In the middle of Ming Dynasty, the appearance of Zhu Yunming, Wen Zhiming and Wang Chong revived the book circle in Ming Dynasty. Among these three people, Zhu Yunming achieved the greatest success. His lower case caught up with the Jin and Tang Dynasties, and his running script, cursive script, Cao Zhang and modern grass were all good. Representative works include Cao Zhang Changmen Fu, Cursive Cliff Fu, Xiao Kai Cliff Fu, Xiao Kai Dongpo Travel Notes, Zheng Dexing Ning Zhi Draft, etc. Wen Zhiming wrote in small letters, and his cursive script followed the Jin and Tang Dynasties. His representative works include Postscript of Liu Zhong and Seven-character Poems. Wang Chong's poetry, calligraphy and painting are "three unique", and the small-block calligraphy is in Jin and Tang Dynasties and the cursive script is in Yan Zhenqing, which is full of popular methods. Because the Ming emperors were elegant in calligraphy, they also chose officials based on their calligraphy skills, and the style of calligraphy prevailed, all of them managed the style of calligraphy. The so-called "the beauty of bamboo slips is better than that of Tang and Song Dynasties", which makes those who are eager to become famous exquisite, influenced by customs, and their statutes decline, resulting in the so-called "Tiger Style".
By the end of the Ming Dynasty, Xu Wei, Xing Dong, Dong Qichang, Huang Daozhou, Ni, Mi and others followed suit and really set off a retro movement. As a result, the calligraphy style became elegant and gradually returned to its true nature. At the end of the Ming Dynasty, Xing Dong, Dong Qichang, Mi (also known as "rice in the northeast, rice in the north and rice in the south" and "Dong in the north, Xing in the south") advocated pen-using individuality. Dong Qichang moved from the Tang Dynasty to the Jin Dynasty, and vividly used his pen. His representative works include Shu Su Tie, Icy Dust Album, Answering Questions, Gu Lin Volume, etc. Xing Dong's calligraphy "Two Kings" has an ancient rhyme. Zhang Ruitu's cursive script is very steep, with a strong and extensive turning point, which has the flavor of Cao Zhang and is very distinctive. His representative works include Zuiweng Pavilion and Hou Chibi Fu. Amy is good at cursive writing and occasionally uses a cursive pen. Ni's cursive script is dangerous with a pen, clear in style and firm in bone, and full of smoke. Huang Daozhou's regular script method and Zhong Wang's visit to the North Monument are ingenious and clumsy, and the cursive brushwork is grotesque and dense.
It is worth noting that Xu Wei's calligraphy is mainly based on Fiona Fang, which is light and heavy, and the pen and ink are vertical and horizontal. Seemingly wild and uninhibited, it actually implies order, which is followed by later calligraphers. Representative works include cursive seven-character poems and cursive poetry collections. In addition, Yu Qian's running script, Zhang Bi's running script, Shen Zhou's running script, Shao Bao's running script, Tang Yin's running script, Wen Peng's running script, Wang's official script, Chen Jiru's running script, Zhao Huanguang's seal script, Qian's running script, Li's running script, Zuo Guangdou's running script, Cai Yu's running script, etc.
2. Qing dynasty:
The history of calligraphy says that Qianlong used to be a "post semester" and later a "monument semester". The habit of learning posts has a long history. In Qing Dynasty, Kangxi was good at Dong Qichang's calligraphy, and Gan Long was good at Zhao Mengfu, so learning calligraphy was very popular. At first there were four famous calligraphers (,Jiang,,, He Chao), and later there were Zhang Zhao and "Weng Fanggang, Liu Yong, Liang, Wang" (Weng Fanggang, Liu Yong, Liang,). Although their skills have not been lost, they have not achieved much, especially because imperial calligraphy pays attention to "black, round and bright", thus forming the so-called "cabinet style".
Apart from the study of calligraphy, the creation of inscriptions is a very important event in the history of calligraphy in China. The emergence and rapid prosperity of stele science are related to the influence of the times, the rise of a large number of unearthed steles, epigraphy and archaeology, and the vigorous advocacy of calligraphers and scholars. There are Ruan Yuan's North-South Calligraphy School, North Monument and South Posting Theory, Bao's Art Boat Double Posting, Kang Youwei's Art Boat Double Posting, etc., which analyze the objective value of the book of steles in detail and slightly, and then set off an upsurge of respecting the steles in the book world. So, from the good way to the salty way, calligraphers formed an association and learned the tablet. Once again,
The tablet school represents calligraphers, among which Deng's seal script is beautiful and calm; Yi Bingshou's official script is unique, simple and honest; He is a monument to Yan Zhenqing and Rongbei. The tablets and stickers are combined, and the running script is the best; Zhao Shan sealed the official seal and went to the North Monument. His brushwork is firm and steady, and his running script is a masterpiece that integrates calligraphy with inscriptions. Shen, Shen and Shen used the brushwork of the North Monument, which was dangerous and changeable. Zeng Xi and Li Ruiqing, the "North-South School", followed Han Li's example and fought with the brush of seal script; Wu Changshuo studied "Stone Drum", with a light and spicy pen and a dripping atmosphere; Kang Youwei absorbed the broad atmosphere of the tablet book, and made great efforts to dig.
In addition, there are Ruosong cursive script, Gong Xian cursive script, Zhou Lianggong cursive script, Chashibiao cursive script, Zheng Shu's official script, Wang Shu's official script, Huang Shen's official script, Guifu's official script, Ganfeng's official script, Feng's official script, Bao's official script, Wu Xizai's official script and Lin Zexu's official script.
In addition to the achievements of stele study, calligraphy in Qing dynasty also lies in the personality characteristics of calligraphers. For example, Wang Duo's pen is vigorous and powerful, and his pen and ink pay attention to rhythm; Fu Shan's pen is turning and his spirit is ups and downs; Zhu Da's bald running script is capable and restrained; Among the Eight Eccentrics of Yangzhou, Jin Nong's Lacquer Book uses Fang Bi, which is lofty and cold, while Zheng Xie's Six Books and a Half is a mixture with obvious personality.