The Ming Dynasty was a unified dynasty established by Zhu Yuanzhang, with Nanjing as its capital and Beijing as its capital in the 19th year of Yongle (142 1). It was founded in 1368 and died in 1644. There were 16 emperors in 277.
After Zhu Yuanzhang proclaimed himself emperor, he fought for 20 years and unified the whole country. When the territory is widest, it reaches the Udi River in the north, the Sea of Japan in the northeast and Hami in the west. The southwest includes Tibet, East China Sea islands and South China Sea. Zhu Yuanzhang revolutionized the system of the former dynasty politically and militarily, integrated military and political power, strengthened centralization, and adopted a series of measures to restore and develop social economy economically, which made the social economy in Hongwu period reach the highest level in history and laid a good foundation for the social and economic prosperity of the Ming Dynasty. During the reign of Emperor Chengzu of Ming Dynasty, the Ming Dynasty reached its heyday. /kloc-At the beginning of the 5th century, Zheng He made seven voyages to the Western Ocean, which became a feat in the history of navigation in China and even in the world.
In the Ming Dynasty, the orthodox dynasty (1436) began to decline. The emperor was not in charge of state affairs, and eunuchs were in power, which led to official corruption, intensified land annexation, poor people and frequent peasant uprisings. Although there were reforms by Zhang and others during the Wanli period, they were all a drop in the bucket and could not be redeemed. In the seventeenth year of Chongzhen (1644), the rebel army led by Li Zicheng captured Beijing and declared the Ming Dynasty extinct.
The Ming Dynasty was an era in which China's feudal society, economy and culture continued to develop, but on the whole, China's science and technology had fallen behind the West. However, after Qin Long's switch, with a large number of western missionaries coming to China, a large number of western science and technology came to China, and the westward spread of the west wind directly promoted the liberation of late Ming thought. After the demise of the Ming Dynasty, the rulers of the Qing Dynasty, in order to prevent the Han nationality from communicating with the outside world, threatened their own rule, strengthened their closed doors and imposed a sea ban, which led to the disappearance of sporadic capitalist buds in the southeast coastal areas of China due to the shackles of the feudal system. This makes our great and prosperous ancient civilization begin to lag behind the western powers.
Zhu Yuanzhang is the emperor.
From the 12th year of Yuan Dynasty to Zheng Zheng (1352), Zhu Yuanzhang participated in the peasant uprising in Guo Zixing at the end of Yuan Dynasty, which showed his outstanding military talent, ability and organizational ability. He led the peasant uprising army to attack the city and plunder the county, and its power gradually expanded. In the 16th year of Zheng Zheng, he led the troops to cross the river, captured Qing Ji and changed his name to Yingtianfu. So taking Yingtian as a stronghold, he sent troops to all the counties around Yingtian, all of which were owned by Zhu Yuanzhang. In the 21st year of Zheng Zheng, Zhu Yuanzhang called Wu Guogong. Twenty-four years ago, with the victory of destroying Chen Youliang, he established himself as a prince, set up an official position, built hundreds of officials, continued to deploy troops and expand his achievements. At the same time of encirclement and suppression of Zhangtucheng, the twenty-seventh year of Yuan Dynasty was changed to the first year of Wu. Taking advantage of the victory of eliminating Zhang Shicheng, the strategy of conquering Fang Guozhen, Chen Youding and the Northern Expedition to the Yuan Dynasty was formulated, and Enemy at the Gates went very smoothly. In the second year (1368), on the fourth day of the first month, Zhu Yuanzhang, with the advice and support of officials, proclaimed himself emperor in the suburban altar, renamed himself Daming, changed to Hongwu, and respected four generations. Back to Fengtian Temple, Li Shanchang, Duke of Guo Xuan, presented a treasure book, and immediately Princess Shi was the queen, Prince Zhu Biao was the crown prince, and Li Shanchang and Xu Da were the prime ministers. Other ministers who have made meritorious deeds in civil and military affairs have been awarded knighthoods and awards. In his imperial edict to the throne, Zhu Yuanzhang talked about the destiny: since the demise of the Song Dynasty, the destiny has lived in the desert and entered China as the master of the world, which has been passed down to future generations. It's been more than a hundred years, and today's luck is coming to an end. Domestic territory, the battle of heroes. I, Zhu Yuanzhang, was originally a commoner in Huaiyou, but only because of God's care and the spirit of our ancestors, I rose among heroes and tried to save the people and make them live in An Tian. Because the ministers of civil and military affairs and hundreds of ministers respectfully call me the emperor, I am reluctant to express my feelings. This is the mercy. Declare the world, salty makes the world know.
Ming Army's Northern Expedition and the Death of Yuan Dynasty
In October of the 27th year of Yuan Dynasty (1367), Zhu Yuanzhang decided to take Xu Da as the general conqueror, Chang Yuchun as the deputy general, command 250,000 troops, go hand in hand by land and water, and take the Central Plains from the north. There are three arrangements for Zhu Yuanzhang's northern expedition strategy: the first step is to "take Shandong first, remove it and shield it"; The second is "spinning Henan broke its wings." After the first two victories, a military situation surrounded the capital of the Yuan Dynasty on three sides was formed. The third step is to "invade the capital" and destroy the yuan. Although the Yuan Dynasty mobilized military forces from various ministries to fight for the trapped animals, there was no hope. Yuan Shundi fled to Beijing with the prince. In the 28th year of Yuan Dynasty (1368), the Ming army invaded the capital of Yuan Dynasty, and the Yuan Dynasty perished.
Calligraphy in Ming dynasty
The art of calligraphy in Ming Dynasty mainly advocated learning calligraphy. Early Song Ke, Song Xun and Song Guang directly inherited cursive script and regular script, and made remarkable achievements. The royal family advocates that calligraphers, represented by Shen Yun, take the regular script of the two kings as a model to form a "Taige style" corresponding to the palace courtyard painting.
In the middle period, from the active Chenghua in Wu Pai to Jiajing, the calligraphy creation in Jiangsu and Zhejiang provinces, especially in Suzhou, became increasingly prosperous, and a number of outstanding calligraphers such as Zhu Yunming, Wang Chong appeared. At that time, there was a saying that "all books in the world are Wu" (Yi). Zhu, Wen, Wang and other literati, who are known as the three outstanding figures in Wuzhong, are under the influence of Li Dongyang, Tongli, Wang Chong, Li Yingzhen, Shen Zhou and others, catching up with the ancient style of Jin and Tang Dynasties, breaking through the shackles of "Taige Style" and forming a distinctive style.
Cursive script prevailed in the late Ming Dynasty. Under the guidance of Maolongshu, Xu Wei's wild weeds followed one after another, with great precipitousness, the mighty shore of Huang Daozhou, Ni's freedom and Wang Duo's leap ... reflecting people's mentality and creativity in the turbulent times. Among the famous "Four Masters" Dong Qichang, Xing Dong, and Rice, Dong Qichang, who advocated "proper pronunciation", is the most famous. His pursuit of plain and simple style of calligraphy and painting had a great influence from the end of Ming Dynasty to the middle of Qing Dynasty.
Paintings of Ming Dynasty
The greatest feature of Paintings of Ming Dynasty's art is the diversity of painting schools and the emergence of famous artists, which can be roughly attributed to the development and variation of two traditions, namely, the academic school represented by the painting style of the Song Dynasty Painting Academy and the literati painting represented by Huang, Zhenwu, Wang Meng and Ni Zan in the Yuan Dynasty. In the early Ming Dynasty, for quite a period of time, the "Academy School" and "Zhejiang School" pursuing elegance and masculinity occupied the leading position in the painting circle. Directly inherited the tradition of literati painting in Yuan Dynasty, until the middle of Ming Dynasty, with the development of new economic factors and the awakening of literati personality consciousness, it gradually replaced the mainstream position of "courtyard style". At the end of the Ming Dynasty, there were many schools and famous artists came forth in large numbers, which was related to the decline of imperial power, the prosperity of cities and the rise of practical learning. Under the advocacy of Dong Qichang in the late Ming Dynasty, literati painting became a creative fashion. At the end of the Ming Dynasty, missionaries came to China, bringing western classical oil paintings, prints and other arts and crafts, prompting China artists to compare Chinese and western arts and consider the methods of western painting.
Ming dynasty furniture
Ming Dynasty furniture is a peak in the history of furniture in China, a model and representative of the national form of furniture in China, and unique in the history of furniture in the world, with far-reaching influence and important position. In the Ming Dynasty, most of the furniture used high-quality hardwood imported from Nanyang, such as Huang Huali, rosewood, rosewood, ironwood and qizi wood. Hard texture, soft color and beautiful texture. It is said that many of them were brought back to China by Zheng He during his voyage to the West in the early Ming Dynasty. The artistic characteristics of Ming Dynasty furniture are: simple modeling, precise and rigorous processing, exquisite and elegant, coordinated proportion, harmony and unity of whole and part, part and part; Scientific scale, in line with human functional requirements; A wide variety of shapes; Focus on decoration, less but better. Ming Dynasty furniture with high artistic level had a far-reaching impact on the development of furniture art in China and even the world.
Ming dynasty porcelain
In the Ming Dynasty, the porcelain industry centered on Jingdezhen made remarkable progress. The main achievements are as follows: Jingdezhen porcelain tires continue to follow the "binary matching method" of the Yuan Dynasty and create "bodiless" porcelain. Basically, lime-alkali glaze was formed, the method of blowing glaze was invented, and the art of underglaze blue and white was generally developed. It is not only Jingdezhen, but also the mainstream of porcelain production in China. On the basis of low-temperature glaze, all kinds of over-glaze colors have reached a relatively mature stage, and during Chenghua period (1465- 1487), a new process of combining underglaze blue and white with over-glaze colors was created. Monochrome glaze technology has been greatly improved, and the copper red glaze in Yongle and Xuande periods fully demonstrated the superb skills of kiln workers in Ming Dynasty. In addition to Jingdezhen in Jiangxi, ivory white in Dehua, Fujian and fahua tricolor in Jinnan, Shanxi also reflect the outstanding achievements of porcelain-making technology in Ming Dynasty. Jingdezhen and Fahua Tricolor used dental nitrate as flux.
Agency is an important contribution. Ban Long kiln and inverted flame steamed bread kiln were also invented in Ming Dynasty, which created favorable conditions for improving heat utilization rate, sintering conditions and product quality.
Ming dynasty gold and silver wares
Compared with the previous generation, the gold and silver jewelry industry in Ming Dynasty developed greatly, and filigree technology appeared. Filament craft is to weave fine gold and silver threads, pile them into jewelry, and then embed pearls and gems on them, which looks exquisite, gem-like, very fine and luxurious. The Forbidden City in Beijing has filigree production, and the golden crowns and phoenix crowns unearthed in Dingling of the Ming Tombs are all made in the Forbidden City. The golden crown is woven with extremely fine gold thread and decorated with two dragons playing with beads. It has simple shape, exquisite decoration and fine craftsmanship. In addition to the filigree beading process, the rockhopper is also decorated with a faint jade color, which means that it is accompanied by bright blue-green kingfisher feathers, and the dragon and phoenix are auspicious, resplendent, jeweled and extremely luxurious. In the Ming Dynasty, there were gold and silver ornaments and utensils in the court, such as golden hairpin, double hairpin, golden pot, Jin Jue, golden lamp, golden bowl, golden plate, golden spoon, golden bowl, gold powder box, etc. Most of them were inlaid with pearls and jade, showing exquisite and luxurious royal style.
Ming dynasty enamel ware
Cloisonne technology was introduced to China as early as the Yuan Dynasty, but it didn't develop until the Ming Dynasty, especially in the Jingtai period. Later generations took this product as the standard and called it cloisonne. There are several main processes in the process of making cloisonne enamel, that is, first make a metal tire, usually a copper tire, then make the metal wire into a flower pattern, weld or stick it on the tire to form a grid-like depression, and then fill it with enamel glaze. After firing, the enamel is completely transparent, slightly blue or green. If various metal oxides for coloring are added during melting, enamels of various colors can be made. After repeated firing, enamel filling and polishing, it became a cloisonne handicraft. Expanded the variety of cloisonne in Ming Dynasty, which is both practical and beautiful. Cloisonne enamelware in the Ming Dynasty was specially managed and fired by the imperial supervisor to meet the extensive needs of the royal family. Existing commodity
There are stoves, lamps, bottles, boxes, spindles, wax tables, statues and so on.
Ming dynasty clothes
Clothing in Ming Dynasty is the epitome of "Han Guan Wei Yi" in China history. In the early Ming Dynasty, the clothing system of the Yuan Dynasty was abandoned, and it was redefined according to the customs of the Han people, which determined that the clothing of the Ming Dynasty should restore and reflect the official prestige of the Han Dynasty-that is, the ancient system of the Han people in China, the feudal hierarchy, and the distinction between honor and inferiority. In the Ming Dynasty, there were strict regulations on the styles, sizes, materials, hat tops, embroidery patterns, colors and even shoes of emperors, civil and military officials and ordinary people, because clothing was the best way to "distinguish between the noble and the humble". However, with the passage of time, after the Wanli period in the late Ming Dynasty, the costumes of the Ming people have undergone drastic and significant changes, showing colorful elegance, and women's dresses and costumes are more competitive. During this period, men's towel hats mainly included black silk hats, net towels, square towels and Liuhe hats. Women's wear mainly includes shirts, coats and chardonnay.
Bi, back, armor, skirt, etc. It can be said that "beauty" entering people's homes is the most prominent feature and striking social fashion of clothing culture in Ming Dynasty.
Lacquerware in Ming dynasty
Lacquer craft in China has a long history, especially in the Ming Dynasty, the development of lacquer craft reached its peak. No matter the variety or craft, there are monographs summarizing lacquer craft and a group of famous craftsmen. In the Ming Dynasty, the only existing lacquer art monograph in ancient China, Seal Carving, appeared. This book was written by Huang Cheng, a master of lacquer art in the late Ming Dynasty. It comprehensively introduces the colorful lacquer art varieties and history in China, as well as the decorative techniques of various ancient lacquer arts in China, which opens up a broad road for future generations to create lacquer art. The continuous development of ancient lacquer art in China not only left us a rich heritage, but also spread all over the world, first in East Asia, Southeast Asia, then in Western Europe and North America. All countries in the world that make lacquerware or imitate lacquerware with other materials are influenced by China to some extent. But China's skilled craftsmen are also good at absorbing the strengths of other countries and respecting others' achievements. This is also an important factor for the continuous progress and development of China ancient lacquer technology.
Zhu Sheng was ordered to compile Women's Commandments.
On March 1st, the first year of Hongwu (1368), Zhu Yuanzhang ordered Hanlin Confucian scholars to write "Female Commandments". He said to academician Zhu Sheng and others. : "Those who govern the world should take self-cultivation as the foundation and family as the first. The way of family integrity begins with the husband and wife's concubines. Although the mother instrument is the best in the world, we can't engage in pre-government. As for the wife's family, it's just preparing for duty and serving towels. If you spoil it too much, you will be arrogant and something will go wrong. Observing the palaces of past dynasties, there is nothing that does not lead to disaster. As the saying goes, guilt is more deceptive than poison. Only the wise master can nip in the bud, and the ignorant master will not be confused by it. You have compiled examples of women's commandments and ancient virtuous princesses for me, in order to let future generations know what they hold. Zhu Sheng and others were ordered to edit it. Soon, it was presented to Zhu Yuanzhang.