In the early Ming Dynasty, Yuan Zhang and Di strongly advocated calligraphy because of their personal preferences, and calligraphy flourished for a while. Cheng Zu wrote a letter to domestic scholars who are good at writing, inviting them to imperial academy, and received double preferential treatment. In the Ming dynasty, when choosing subjects, they all answered questions in regular script to ensure cleanliness.
Those who write poorly, even if they are knowledgeable, will fall into Sun Shan. This had a great influence on the artistic style of calligraphy at that time. Therefore, when writing, the literati only want to be correct, respectful, horizontal, vertical and neat, and write like a woodcut, thus forming the "Taige Style" of the Ming Dynasty.
Most of Taige poems are poor in content, and they are mostly written for coping with the system, conferring titles and socializing. The theme is often "praising virtue and singing harmony", pursuing fairness and elegance in art, and then gradually withdrawing from the literary world under the impact of Chaling School and the First Seven School.
Taige style is an official style in Ming Dynasty. Its characteristic is that the font is square, bright and clean, black and even in size.
Historical influence is as follows:
Tiger calligraphy is a special phenomenon in the history of calligraphy art.
It is undoubtedly an invisible constraint on the talent and temperament of calligraphers, but it also promotes the development of iron calligraphy because of the need and promotion of imperial power, and it still has its positive contribution to this day.
At the beginning of the Ming Dynasty, Taige calligraphy came into being, which reached its peak in Yongle period, affecting the whole official calligraphy world and becoming the main form of calligraphy art at that time.
Tiger calligraphy occupied a dominant position in the book world for more than 30 years during Yongle and Xuande years, and declined during Chenghua and Hongzhi years.