Abstract: The content of official calligraphy education in Ming and Qing Dynasties is mainly the famous calligraphy posts in Jin and Tang Dynasties. At that time, the teaching purpose and style orientation of calligraphy education were actually stipulated through the imperial examination and the civil servant selection system. A study of letters in late qing dynasty. The emergence of epigraphy and the prosperity of philology have injected new vitality into calligraphy education. The development of inscriptions in Ming dynasty and the spread of inscriptions in Qing dynasty broadened the scope of calligraphy learning at that time, and the innovation of calligraphy education texts and the evolution of teaching methods also promoted the development of calligraphy education. Overseas calligraphy education in Ming and Qing Dynasties had a far-reaching impact on Japan's missionary achievements.
Keywords: Ming and Qing calligraphy; Calligraphy education; Organizational form; Calligraphy teaching content
Calligraphy inherits the immortal ideology and culture of the Chinese nation with written content, inherits the unique artistic tradition of the nation with the presentation form of visual art, and inherits the historical inheritance of material civilization with the way of works themselves. Some scholars believe that calligraphy is the core of traditional culture, so calligraphy education is the way and means to inherit the core of culture. The study of ancient calligraphy education is the basis of the study of China's calligraphy history. At the moment when the research on the history of calligraphy education is still relatively weak, it is particularly meaningful to carry out the research on the dating of Ming and Qing dynasties: this period is the summary of ancient calligraphy education in China and the beginning of modern calligraphy education, which inherits the traditional organizational forms and teaching contents of ancient calligraphy education and enlightens the emerging ideas and teaching methods of modern calligraphy education. The study of calligraphy education in this period will undoubtedly help to restore the whole process of the development of ancient calligraphy education in China, and also help to reveal the basic laws of calligraphy inheritance in China, thus providing historical reference for the education and inheritance of contemporary calligraphy.
First, the calligraphy education in Ming Dynasty
Before the founding of the Ming Dynasty, Yingtianfu School was changed to Sinology in the twenty-five years from Yuan Dynasty to Zheng Zheng, and the highest institution of learning in the central government was established. In the 14th year of Hongwu Ming Dynasty, Jianguo School was changed to Jiming Mountain, and the following year, Guo Zi School was changed to imperial academy. In the first year of Yongle, there was another imperial academy in Beijing. In the 18th year of Yongle, the capital was officially moved to Beijing. The original capital imperial academy was changed to imperial academy, Nanjing, and imperial academy, the capital of imperial academy. There were two imperial academy in the Ming Dynasty, which gradually formed the calligraphy education system of official schools in the Ming Dynasty. In addition to schools, the official institutions with the function of calligraphy education in Ming Dynasty also included the Calligraphy Department of the Cabinet and imperial academy. By the middle of Ming Dynasty, calligraphy education had made great progress, and a number of outstanding calligraphers and calligraphers such as Zhu Yunming, Wen Zhiming and Dong Qichang emerged.
This shows that Feng Fang directly criticized two calligraphy styles, one is the lifeless Taige regular script represented by Shen Du and Jiang Ligang, and the other is the cursive script represented by Zhang Bi and Li Dongyang, which has no ancient method and is similar to the wild fox Zen. Such an objective and incisive exposition is a concrete reflection of the thought of doing everything except evil in the calligraphy circle after the middle of Ming Dynasty, and it is of far-reaching significance and priceless in calligraphy education works.
During the Qianlong Jiajing and Wanli years of book publishing and book engraving, book engraving was particularly prosperous. According to analysis, the total number of engraved books in the Ming Dynasty should exceed 10,000, of which more than half were written by Ming people. At that time, Jiangnan literature was prosperous. After Wanli, a large number of novels, operas and other books were printed, and a large number of famous bookstores emerged in Jianyang, Fujian, Jinling, Jiangsu, Huizhou, Anhui and Wulin, Zhejiang. In the Ming Dynasty, the cause of calligraphy revision flourished, and the work of lettering was heavy, so the demand for calligraphy talents increased sharply. Objectively, it has also become an important factor to stimulate the development of calligraphy education. Block printing also had an important influence on calligraphy education in Ming Dynasty. Engraving became more and more popular in the early Ming dynasty and more prosperous after the middle period. The Ming dynasty was dominated by private posts, and the official position was far less than that of the Song dynasty. At that time, people saw many hidden calligraphy treasures of past dynasties, which provided a wide learning model for calligraphy education at that time. Under the unique historical conditions of the development of post-legal education, many famous calligraphers were born in the Ming Dynasty.
Second, calligraphy education in Qing Dynasty
(A) the diversification of teaching organizations
The official calligraphy education institutions in Qing Dynasty mainly included imperial academy, imperial academy, county schools and academies. Although calligraphy education only stays at the practical level, folk calligraphy education mainly includes three modes: family training, private school students and academy teaching. The Chen family in Haining has a rich collection of books. Dong Qichang taught in the Chen family for many years, leaving many Mo Bao. In addition, Qian Daxin teaches calligraphy in Suzhou Ziyang Academy, where he teaches calligraphy in Jinan Luoyuan Academy and Changsha Chengnan Academy, and Zhang Yuzhao teaches calligraphy in Baoding Lianchi Academy.
(2) The revival of pavilion, stele and seal script.
The popularity of imperial examinations and pavilions, the prosperity of stele study, and the rise of the wind of worshipping stele calligraphy were precisely due to the imperial examinations, so the wind of learning calligraphy in Qing Dynasty was extremely prosperous, which promoted the extensive development of calligraphy popularization education. At the same time, the spread of western learning to the east reached its peak in Kangxi period. During Yongzheng and Qianlong periods, the Qing government strengthened its ideological rule and set up a literary prison for the need of consolidating political power. At the beginning of the Qing Dynasty, the social conditions for cultural exchange between China and the West no longer existed, so academic research took a turning point, and scholars focused on philology.
(c) The evolution of teaching and the stimulation of transcription
Because the publishing industry was relatively backward at that time, copying books and writing classics became the main means for people to obtain and preserve books. In addition, the central government and provincial governors, governors and chief secretaries need a large number of people who are good at regular script. Therefore, even if the literati failed in the imperial examination, if they were good at calligraphy, they could make a living by copying books, which stimulated the development of calligraphy education in Qing Dynasty to some extent.
To sum up, the factors that have a direct impact on calligraphy education in Ming and Qing Dynasties mainly include the following aspects:
First, the educational policies, systems, organizational forms and teaching contents in the historical period have restricted the development form and level of calligraphy education.
Second, the assessment system of official appointment, including imperial examination and civil servant election, has a guiding role in the social identity of calligraphy education.
Thirdly, the humanistic thought and aesthetic fashion in the historical period have standardized the category, style characteristics and evaluation criteria of calligraphy education.
Fourthly, the theoretical research results and teaching research results of calligraphy have promoted the teaching ideas, methods and means of calligraphy education, and even the teaching effect.
Fifth, rubbings, the spread and collection of famous ink, the prosperity of pictures, books, periodicals and prints have all promoted the development of calligraphy education. Sixth, overseas biographies and cultural exchanges between ethnic groups have also played a positive role in promoting calligraphy education. Because of the nature and characteristics of China's calligraphy art itself, calligraphy education has two basic characteristics: overt and covert. School education, mentoring and other teaching education are calligraphy education with obvious characteristics. Calligraphy education with hidden characteristics is the calligraphy education produced by the circulation, collection and dissemination of calligraphy education works, rubbings and famous ink.
refer to
[1] Zhang, waiting for Ming History [K] Shanghai: Shanghai Ancient Books Publishing House,
[2] Wang Shizhen. Yiyuanyan [K] Shanghai: Shanghai Painting and Calligraphy Publishing House,
[3] Zhang Jinliang. Continuing the history of books will be supplemented [K] Zhengzhou: Henan Fine Arts Publishing House,
[4] Shi Zhecun. Beishanlu [K] Beijing: Publishing House,
[5] Feng Fang. Xue Tong Cheng Shu. Regular script [K] Shanghai: Shanghai Painting and Calligraphy Publishing House,
[6] Huang Zhu. Textual research on Ming history (II) [K] Beijing: Zhonghua Book Company
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