Who was the representative calligrapher in the middle of Ming Dynasty?

In the mid-Ming Dynasty, with the development of commodity economy, Suzhou, Hangzhou, Yangzhou and other cities in the south of the Yangtze River became not only the national economic center, but also the cultural center where literati gathered. A large number of literary works reflecting the life of citizens have appeared in the literary world, and literati calligraphy has also risen again. Calligraphers turned their interest to ancient calligraphy, and they tried to draw nutrition from it. For example, Li Dongyang studied Yan Zhenqing and Li, Wu Kuanxue Su Shi, Shen Huang Tingjian, Zhang Bi and Zhang, Zhang Xu and Huai Su. After many explorations, they all have a deep literary accomplishment. On the basis of inheriting the excellent tradition, their calligraphy pays more attention to formal beauty and expresses personal feelings, and finally Wu Men School calligraphy appeared in Suzhou. Their representatives are Zhu Yunming, Wen Zhiming and Wang Chong.

Zhu Yunming studied Zhong You and Wang Xizhi under Xiao Kai, and Huai Su and Huang Tingjian under Weeds. He devoted himself to the study of ancient laws, changing in and out, and forming his own face. Zhong You, a master of regular script in Wen Zhiming, wrote cursive script based on the Preface to the Holy Teaching, and absorbed the strengths of the Tang, Song and Yuan Dynasties. He specializes in Huang Tingjian, a large-character edition, Huang Tingjing, Wang Xizhi, and Yue Yi Lun, and his achievements are the highest. His book wins by skill and has a beautiful and elegant style; The biggest influence is children and students. Wang Chong is good at writing small letters and cursive script. He studied under Wang Xianzhi and Yu Shinan, and his writing style was unpretentious. The calligraphy of this period is most famous in small letters. Tiger calligraphers are also good at small letters, because they have the work of calligraphy. Wu Sanjia's achievements in lower case letters are also the most outstanding. However, in order to correct the shortcomings of unified style and lack of artistic meaning, they adopted the method of Wei and Jin Dynasties and emphasized the natural beauty of calligraphy. Deliberately straighten the length of stippling, and each one has the word status. The complex strokes make it big, and the simple strokes make it small, oblique and dense. Fiona Fang's mouth is slender and natural.