1, the regional style of calligraphy and the combination of calligraphy and painting are the remarkable characteristics in the history of calligraphy in Ming Dynasty.
2. The Ming Dynasty, like the Song Dynasty, was also a period of strong iron learning, and under the cultivation of iron learning, a collection of calligraphy styles of Ming people was formed.
3. The popular calligraphy works in Ming Dynasty are hung and appreciated after being mounted. In order to strengthen the visual stimulation, the elements of using pen in calligraphy began to weaken, while the elements of writing and composition were strengthened. Therefore, the calligraphy of Ming dynasty was not refined, which became a potential factor for the publication of epigraphy in Qing dynasty. The Ming Dynasty is a process of strengthening calligraphy appreciation, so the Ming Dynasty is an important mature period in the history of calligraphy.
A summary of calligraphy research in Ming dynasty;
The Ming Dynasty, like the Song Dynasty, was also a prosperous time of iron and blood. The passing and engraving of law posts is very active. Among them, the most famous is the Chunhua Pavilion, which is often engraved in Quanzhou Post. Dong Qichang carved "Xi Hong Tang Tie"; Wen Zhiming carved "Stop Cloud Pavilion Post"; East China sand sculpture "Appreciation of Zhai Tie's Genuine Products"; Chen Meigong carved Su Dongpo's book as "Late Fragrant Hall Post" and so on.
Among them, Zhai Tie in Zhen Jian is the representative of the calligraphy model in Ming Dynasty. "Ting Yun Ting Tie" included the works of Mo Bao, a famous artist from Jin Dynasty to Ming Dynasty, and it was a great success.
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 copy in order to be honest and clean, which makes calligraphy lose its artistic interest and personal style.
In the nearly 300 years of Ming dynasty, although there were some successful people, there was no great breakthrough and innovation in the whole dynasty. Therefore, in modern times, Ding concluded in "The Essence of Calligraphy": "All those who talked about art in the Ming Dynasty copied and imitated, and there was nothing to create."