Appreciation of calligraphy fonts in spring, summer, autumn and winter;
Calligraphy font in spring, summer, autumn and winter 1
Spring, Summer, Autumn and Winter Calligraphy Font 2
Spring, Summer, Autumn and Winter Calligraphy Font 3
The characteristics of calligraphy in the early Qing dynasty;
Calligraphy in the early Qing Dynasty inherited from Seo Woo in the Ming Dynasty, and influential calligraphers are still adherents of the Ming Dynasty, including Wang Duo, Fu Shan, Zhu Da, Gui Zhuang, Song Cao and Mao Xiang. They are all good at cursive script, and Wang Duo and Fu Shan have the greatest influence. Wang Duo's cursive style is bold and unconstrained, and it is unique for a while. Fu Shan's cursive writing is not as strong as Wang Duo's, but because it is not clear, he uses calligraphy to express his thoughts and feelings, so he is indifferent and complacent. Zhu Da's cursive script hides his head and protects his tail. His pointillism and its turning point contain a painful emotion of national extinction and death, which is the same as his paintings.
The wild grass in the late Ming Dynasty did not develop in the Qing Dynasty. This is due to the cultural policy of imprisonment in Qing dynasty, which is incompatible with wild grass. Therefore, after the early Qing Dynasty, few calligraphers could write cursive script. In addition, Kangxi loved Dong Qichang's calligraphy and appreciated Zhao Meng's. Therefore, the calligraphy styles of Zhao and Dong have greatly increased, and ordinary calligraphers only take Zhao and Dong as their models. However, the imperial examination system in the Qing Dynasty required both elegant and popular tastes, which made the calligraphy in this period look weak and charming. At this time, the post study is even narrower. The representative calligrapher at that time was Shen Quan, the tenth grandson of Shen Du, a calligrapher of Taige style in Ming Dynasty. He studied Dong Qichang, and wrote imperial books mostly by him.