In the mid-Ming Dynasty, literati calligraphy rose again, and calligraphers turned their interest to ancient calligraphy. For example, Li Dongyang studied Yan Zhenqing and Li, Wu Kuanxue Su Shi, Shen Huang Tingjian, Zhang Bi and Zhang, Zhang Xu and Huai Su. On the basis of inheriting excellent traditions, their calligraphy pays more attention to the beauty of form and the expression of personal feelings. Finally, Wumen calligraphy appeared in Suzhou, and its representatives were Zhu Yunming, Wen Zhiming and Wang Chong.
Among the three schools of Wumen, lower case is the most outstanding achievement. However, in order to correct the shortcomings of stereotyped style and lack of artistic meaning, they adopted the method of Wei and Jin Dynasties, emphasized the natural beauty of calligraphy, and deliberately made the stippling length straight, each with its own personality. The strokes were large and simple, oblique and dense, and Fiona Fang was slender and natural. In addition, there are a group of calligraphers around Zhu, Wen and Wang. Such as Chen Chun, Wen Peng, Wen Jia, Zhou, Wang Shudeng, etc. They were all calligraphers of Wumen, so there was a saying at that time that "all calligraphy in the world is Wumen".
At the end of the Ming Dynasty, there appeared many calligraphers with unique styles and outstanding achievements. Such as Xu Wei, Xing Dong, Dong Qichang, Mi, Huang Daozhou, Ni, Wang Duo and Fu Shan. Xu Wei expressed his anger in his chest in cursive script. Followed by Xing Dong, Dong Qichang and Mi. Xing Dong extensively studied the calligraphy of famous artists in Jin, Tang and Song Dynasties, and left many works that copied ancient posts. His calligraphy is vigorous, steady and mellow. Ray's book has a unique style. He found a new way out of Jin and Tang calligraphy, and used it for many purposes, giving people a strange feeling. Mi, a descendant of Mi Fei in Song Dynasty, specializes in rice characters, and his brushwork is calm and vigorous. He was famous for his calligraphy in the north for 40 years. In addition, there are Zhao Huanguang, who created Cao Zhuan, and Song Jue, who specializes in official script. But at the end of the Ming Dynasty, Dong Qichang was the most influential one, creating a generation of calligraphy style.
Dong Qichang also made great achievements in calligraphy, calligraphy and cursive script, forming a beautiful and elegant calligraphy style. On calligraphy theory, he emphasized that calligraphy is expensive and has ancient meaning, and thought that calligraphy must be mature before it can be born, that is, to cover up the proficiency of techniques with a clumsy attitude to show the "morale" of calligraphy. He attached great importance to the calligrapher's cultural and artistic accomplishment, advocated reading more books and getting close to the original works of the ancients, and emphasized reading thousands of books and taking the Wan Li road to improve artistic understanding. These are all related to the theory of North-South School in his painting theory. Dong Qichang created a seemingly irrelevant aesthetic and elegant style. In addition, Huang Daozhou's stubbornness, Ni's new metamorphosis and Wang Duo's and Fu Shan's calmness in the late Ming Dynasty all reflected the great changes in the book world during the period of 10 ~ 20 years before the fall of the Ming Dynasty, which continued until the early Qing Dynasty.