Emphasis on meaning is the principle put forward by Su Shi, that is, "innovation lies in statutes, and mystery lies outside the uninhibited." Natural things are "conformal" and "impermanent". So is calligraphy. Everyone can recognize the traces when they see the calligraphy of their predecessors. For example, natural things are "normal" and "the work of the world" is interesting for scholars, or they can be bent to the best shape, but there is no "new idea"; Although the predecessors were able to form their own school and calligraphy had their own characteristics, in the endless changes, there must be one calligraphy rule that is the same, that is, those who are essentially "impermanent" have "common sense". If later calligraphers can understand the common sense and meaning in their own Tao, their calligraphy will be at a loss. This novelty stems from the author's grasp of the ancient law. Just as it is a truth that Wu Daozi's paintings can change endlessly without losing "the number of nature". Calligraphy, in terms of "shape", has changed, which is lacking by predecessors, so it is "new"; As far as "meaning" is concerned, it originated from "ancient" and gained the "law" of predecessors. Therefore, "in the statutes" and "creating new ideas" are exactly what Su Shi wants to advocate.
From the Yongle period of the Ming Dynasty, a kind of so-called "Taiyi Geti" poem appeared. Its sponsors are called "Three Yang", namely Yang Shiqi, Yang Rong and Yang Pu, all of whom are "Taige ministers", so they call their poems "Taige style". Its appearance is a retrogression in poetry creation, because it only pursues the so-called "elegance" and is full of praise and flattery to the emperor. It is not innovative and lifeless, and its influence is not as good as the "Kunxi style" in the Song Dynasty. The "Taige Style" formed from Yongle to Chenghua embodies the spiritual outlook and aesthetic taste of the upper-level bureaucrats for a long time after Hongwu, and has widely influenced the literary world as a model. Its main figures are "Sanyang": Yang Shiqi, Yang Rong and Yang Pu, all of whom worked as officials to university students. At the same time, the creations of most senior bureaucrats can be classified into this school. Its form is mainly poetry, which can also include prose.
"Wumen" is another name for Suzhou today. Since the mid-Ming Dynasty, Suzhou has enjoyed a prosperous economy and developed culture, with Zhu Yunming (1460 ~ 1526) and Wen Zhiming (1470 ~ 1559) as leaders and Chen Chun (1483 ~) as leaders. Including Xu Youzhen (1407 ~ 1472), Shen Zhou (1427 ~ 1509) and Li Yingzhen (1431~1409). Wen Jia (1499 ~ 1582), Wang Yixiang (150 1 ~ 1568), Peng nian (1505 ~ 1566). ~ 1573), (1508 ~ 1578), Zhou (15 14 ~ 1595), Lu Shidao (15) Deng (1535 ~ 16 12) and other younger generations. This group, known as "Wumen Calligraphy School", has strong strength, changed the dull and monotonous aesthetic taste of calligraphy since the early Ming Dynasty, and became the mainstream of calligraphy development in the middle Ming Dynasty, with an influence of more than a hundred years. The emergence of "Wumen Calligraphy School" is not an isolated phenomenon, but an inevitable product of Suzhou's economic and cultural development, which has a profound background of the times. This paper briefly expounds the occurrence, development and decline of "Wumen Calligraphy School", makes a comprehensive investigation, and analyzes its causes, calligrapher's achievements, calligraphy genre style and development characteristics, objectively presents the historical track of "Wumen Calligraphy School" and highlights its position in the history of calligraphy.