The development course of pavilion style

Because of the popularity of scholar-officials and calligraphy, calligraphy creation was affected. Therefore, the calligraphy style of the whole Ming Dynasty was mostly running script, which could not be traced back to Qin, Han and Northern Dynasties. The works of seal, Li and Bafen are almost extinct, and the regular script is exquisite and delicate. During the Yongle and Orthodox Dynasties, Yang Shiqi, Yang Rong and Yang Pu successively entered imperial academy and Wen Yuan Pavilion and wrote a large number of inscriptions, which were called Guangchang Style, or Taige Style.

Scholars compete to imitate calligraphy in order to make a fortune, which makes calligraphy lose its artistic interest and personal style. For talented calligraphers, Tiger calligraphy is an invisible bondage and a contradiction to calligraphy performance. The prosperity of calligraphy and the popularity of Taige style in the early Ming Dynasty were the result of the strong intervention of the rulers. When this intervention weakened, the development trend of calligraphy changed-it entered the middle of Ming Dynasty.

In the period of Chenghua and Hongzhi, Tiger calligraphy gradually entered a dead end, becoming rigid and lifeless. Calligraphers also realized the harm of Taige style and turned to learn from Jin and Tang Dynasties. Calligraphy style, which aims at relaxing mood and expressing personal feelings, began to resurface in the middle and late Ming Dynasty and gradually became the mainstream. Calligraphy in this period can be divided into two stages: the gradual disappearance, transition and transformation of Taige style in Chenghua and Hongzhi periods, represented by Li Dongyang, Shen Zhou and Wu Kuan; During the period of Zheng De and Jiajing, Wumen calligraphy was the main body, which truly represented another prosperous period of calligraphy in the middle of Ming Dynasty. Represented by Zhu Yunming, Wen Zhiming, Wang Chong and others.