The wild pen and ink in the late Ming Dynasty is wild. Cynicism was further extended in the early Qing Dynasty. For example, the works of Zhu Fushan and others still show my inner life and an elusive emotional expression. This point reappeared in the middle period of Yangzhou Eight Eccentrics.
At the same time, the post-school system in the late Ming Dynasty was further developed. While respecting the tradition, Jiang Ying, Zhang Zhao, Liu Yong, Wang Wenzhi, Liang, Weng Fanggang, etc. all tried to show a new look, either using light ink or changing the composition structure. 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 inscriptions were unearthed, and the literati turned from being keen on letters to engaging in textual research on inscriptions. Scholars inside and outside the ruling and opposition parties once flocked to study inscriptions, and eventually became the democratic stream of calligraphy in the Qing Dynasty together with Ruan Yuan and Bao. Kang Youwei strongly advocated that stele study existed as a calligraphy system, competing with post-study. At that time, famous calligraphers were Jin Nong, Deng, He, Zhao, Wu Changshuo, Kang Youwei and so on. One after another, they used the tablet to write and draw, and each did his best.
A dazzling situation. It can be described as a landscape of China calligraphy culture. If the epitaph's desire for quality has not been realized, then this desire has been realized in the study of steles.