Dong Qichang, Tang Yin,,,,, Zhan Xiyuan, Du Huan, Li Dongyang, Shen Zhou, Zhang Bi, Zhang Jun, Xing Dong, Zhu Yunming, Wen, Chong Wang, Wei Xu, Mi Wanzhong, Huang Daozhou, Ni Yuanlu, Wang Duo, Huang Daozhou.
Second, the position of calligraphy in Ming Dynasty in history
China's calligraphy started in Oracle Bone Inscriptions and has a history of thousands of years. During the development of thousands of years, China's calligraphy reached its peak three times.
For the first time, it was the Wei and Jin Dynasties; The second time was in the Sui and Tang Dynasties. The third time was in the Song and Yuan Dynasties. It's a pity that the calligraphy of the Ming Dynasty didn't reach its peak, but compared with the Qing Dynasty, the calligraphy of the Ming Dynasty still has a little vitality, but it's too much to call it Xiao Gaofeng.
Third, the so-called quantity.
Many people say, I don't believe it. How many calligraphers were there in Ming Dynasty, how many were cattle people, and which dynasty was more than that.
It seems reasonable to speak with numbers, but how to ensure the authenticity and validity of numbers? How can you be sure that this character is true and reliable? Why do you say that he is a calligrapher? Is there a set of standards that can be fixed?
No, it's nothing. Statistically, this figure may be for illustration. Besides, in the history of calligraphy in China, it is difficult to define whether a calligrapher is a calligrapher. There is no standard.
Fourth, look at the contribution
Some people may say, since you say there is no fixed standard, why do you say that the three peaks of China's calligraphy are Wei, Jin, Sui, Tang, Song and Yuan Dynasties?
Although there is no specific quantitative standard for calligraphy, we can still examine the role of this era in calligraphy from other aspects, or we can measure the achievements of calligraphy in this era with contributions.
Verb (abbreviation of verb) matured in Wei and Jin Dynasties.
During the Wei and Jin Dynasties, the legendary brushwork of Wei and Jin Dynasties was born in this period, and Wei and Jin Dynasties played a very important role in the history of calligraphy in China, that is to say, it was the mature period of China's calligraphy. Since then, China's calligraphy has become a mature art, instead of simply staying in the ranks of unconscious art, it has officially become a conscious art. ..
The so-called consciousness is to consciously pursue and appreciate the beauty of calligraphy. Moreover, Wang Xizhi, a famous calligrapher, lived in the Wei and Jin Dynasties, during which the three-body cursive script was mature, and Wang Xizhi also created the calligraphy style of the two kings that influenced future generations for thousands of years. Its importance is self-evident.
The laws and regulations of sui and Tang dynasties on intransitive verbs
During the Sui and Tang Dynasties, China's calligraphy laws and regulations were established. During the Sui and Tang Dynasties, China's calligraphy began to enter the written law period, marked by the maturity of regular script calligraphy. In the Sui and Tang Dynasties, there were four types of regular script and three types of regular script.
Moreover, with the development and maturity of regular script art, the requirement of legalization has become the knowledge of calligraphy, not only regular script, but also cursive script.
During this period, Ou Yangxun, Yan Zhenqing and Liu Gongquan became famous calligraphers, especially Yan Zhenqing, who was regarded as the only one who broke through the right army soldiers.
Seven, Song and Yuan Dynasties
During the Song and Yuan Dynasties, literati's feelings began to flood into calligraphy art, and their calligraphy level was generally high. Lian Wenxue masters Ouyang Xiu and Xin Qiji also produced their own calligraphy, which is no less than that. In addition, Song Sijia, headed by Su Shi and Zhao Mengfu in Yuan Dynasty, propped up the peak of China's medieval calligraphy art.
The culture and art of this period, including calligraphy, began to be refined and became a high-level expression of literati's feelings.
Eight. Secularization in Ming and Qing Dynasties
The growth of the civil class in the Ming and Qing Dynasties paved the way for the popularization of culture and art. Although it opened up new vitality for China's calligraphy to a certain extent, it also inevitably led to the decline of calligraphy.
Therefore, although the Ming Dynasty ushered in a small peak of calligraphy art, it was also a dead end of the development of culture and art, and then pavilions dominated the whole country, and the creation of culture and art was suppressed.