China is an ancient civilization with a long history. On the vast land of 9.6 million square kilometers, the Daxi people who live more than 2 million years have firmly taken the step of Chinese history. For millions of years, our ancestors have worked hard, fought hard, and succeeded one another on this beautiful and fertile land of China, creating a glorious history and culture. Nowadays, anthropology and archeology have proved with extremely rich results that Chinese civilization can no longer be summarized by just "five thousand years". Chinese civilization is much older than five thousand years. The earliest known pottery in my country was born in many primitive cultures in Hebei, Henan, and Jiangxi more than 8,000 years ago. More and more archaeological data and research have irrefutably proven that art such as writing, painting, sculpture, etc., which represent advanced forms of human culture, were born as early as 6,000 years ago in the Yangshao Culture and a large number of early rock paintings. , developed in the Longshan Culture more than 4,000 years ago, and matured in the Shang Dynasty more than 3,000 years ago.
Therefore, to summarize the development of Chinese painting and calligraphy and the history of Chinese painting and calligraphy, we must start from more than 6,000 years ago. There is a long history and a long history. Among the vast cultural classics in our country from ancient times to the present, there are countless documents on the history of calligraphy and painting. Only the history of Chinese calligraphy and the history of Chinese painting written by modern scholars are more accessible to readers now. There are countless such works, and most of them are "tomes" with hundreds of thousands or millions of words.
As mentioned before, Chinese writing was produced six thousand years ago. At that time, people of the Yangshao culture had already carved characters on pottery, which were called "books". As long as there are written words, there is already a certain art of luck and frustration, which is called "Dharma". The art of calligraphy has been around since its birth. The exquisite paintings of various painted pottery cultures and numerous rock paintings have recorded the production, life, thoughts and emotions of our ancestors with the artistic point of view at that time, and the paintings have become mature. When we talk about the history of Chinese calligraphy and painting, we should start here. But to put it this way, firstly, the time span is too long. Even if it is explained briefly, it will be difficult to stop and cannot be tolerated. The second is the historical facts of these materials. The painted pottery paintings and rock paintings that need us to authenticate rarely enter the homes of ordinary readers and the cultural relics market.
For the convenience of description, books and paintings are introduced separately. Let’s talk about calligraphy first. The development of Chinese writing in the Shang Dynasty, represented by oracle bone inscriptions, was quite mature and fully possessed the elements of Chinese character shape, pronunciation, and meaning. The small and strong characters on the tortoise shells and animal bones were the calligraphy works of that time. A large number of intellectuals who engaged in witchcraft and divination were calligraphers at that time, and many of them still left their names. During the last week, my country's slavery economy and culture have experienced unprecedented development, and characters and calligraphy have also entered a new stage. The most important thing is the characters carved and cast on bronze vessels, the so-called "bronze inscriptions". The calligraphy style is large seal script, which is ancient and vigorous. , powerful and powerful. This style of calligraphy is still loved by calligraphy enthusiasts, and many calligraphers still strive to pursue Linxue, which is also full of interest. During the Qin and Han Dynasties, the formation of Xiaozhuan and official script was the most important. Small Seal Script is said to have been created by Qin Prime Minister Li Si. In fact, the Qin Dynasty transformed the different styles of Large Seal Script that had been popular in various countries since the Shang and Zhou dynasties in order to unify the script and achieve "the same script". The strokes of the small seal script and the larger seal script are simple and free, but the calligraphy still has the beauty of vigor and majesty. According to legend, the calligraphers who wrote Xiaozhuan include Li Si, Zhao Gao and others. Official script also came into being in the Qin Dynasty. According to legend, it was created by the jailer Cheng Miao. It was also made by adding or subtracting large seal scripts, making it easier for people to learn, write and write quickly. The font of official script is regular, the strokes are clear horizontally and vertically, and the work is steady and calm. Many calligraphers from past dynasties to the present have practiced official script, and it is an important type in the art of calligraphy. In the Han Dynasty, there was also a hastily formed font that was "disbanded from the official script", that is, the ancient cursive script of the Han Dynasty (the origin of cursive script, also known as Zhangcao), but it is far less important than the small seal script.
Later, I began to study writing not just as a tool for note-taking but also as an art. I continued to study it for years and years, and it was elevated to the level of philosophical discussion. A large number of people who write writing became It is a work of the contemporary Wei and Jin Dynasties that has the spirit of the times and personal character, as well as artistic quality of both form and spirit. It can be called a "calligraphy" work. Therefore, some people say that the crisis period of the Southern and Northern Dynasties was the period when our calligraphy art matured for the first time, and some even say that it was the "heyday era" of our country's calligraphy art. The salient features of calligraphy art during this period are: First, the calligraphy style has undergone great changes, gradually emerging from seal script, official script, and Zhangcao, forming real script, running script, and modern cursive script. The art of calligraphy in our country has developed to this period, and all five calligraphy styles including Zhen, Cao, Zhuan, Li and Xing have been developed. All the leading calligraphy masters in the following eras only used these five calligraphy styles. The second characteristic is that this period produced a large number of great calligraphers with outstanding calligraphy skills, and their calligraphy works have been models for calligraphers for thousands of years, such as Zhong Yao and Huang Xiang during the Three Kingdoms period, and Mrs. Wei during the Jin Dynasty. , Lu Ji in the Eastern Jin Dynasty, Wang Xizhi, Wang Xianzhi and his son, Wang Xun, Yang Xin, Wang Sengqian in the Southern Dynasty, etc. Wang Xizhi's achievements and fame are particularly outstanding, and he is known as the sage of Chinese calligraphy art, the "Sage of Calligraphy". Among his calligraphy works, they were already as precious as jade in the early Tang Dynasty. Taizong Li Shimin searched hard for them during his lifetime, and even buried the "Lanting Preface" written by Wang Shu after his death. Almost all the great calligraphers of the Tang Dynasty had copies of Wang Xizhi's "Lanting Preface". In the late Northern Song Dynasty, there were 243 Linbens in the collection of Xuanhe Imperial Palace, which shows how deeply the world cherishes them. Third, during the Wei, Jin, Southern and Northern Dynasties, the theory of calligraphy art in my country had formed a system, and a number of calligraphy theorists and calligraphy works appeared.
For example, Wei Heng's "Four Styles of Calligraphy" in the Western Jin Dynasty, "On Book List" by Yu He in the Liang Dynasty in the Southern Song Dynasty, "On Book Quality" by Shu Jianwu, "Ancient and Modern Book Reviews" by Yuan Ang, and "On Book Reviews" by Emperor Wu of Liang Dynasty Xiao Yan and Tao Hongjing "On Shu Qi". "Lun Shu Qi" is a calligraphy treatise compiled by later generations between Tao Hongjingyu, Emperor Wu of Liang Dynasty and his ministers on the art of calligraphy. From it, we can see the prosperity of calligraphy at that time.
The great achievements of calligraphy art in the Wei, Jin, Southern and Northern Dynasties are also reflected in the large number of unique calligraphy art treasures left to us during this period, many of which are our country’s art treasures and are priceless. The most important ones are briefly listed as follows:
Zhong Yao's "He Ke Jie Biao" (rubbing of Tang Dynasty), "Jian Ji Zhi Biao", "Combation Field Bing She Tie", "Li Ming Tie", " Huanshi Tie", "Tiaoyuan Tie", etc. are all rubbings or later copies. Zhong's original works have been difficult to find since the Southern Dynasties.
Huang Xiang's "Tianfa Shenhuo Stele", "Gulang Stele", copies of "Jijiuzhang", etc.
Lu Ji's "Pingfu Tie" and "Wangxiang Tie" are both written in ink.
Wang Xizhi's "Lanting Preface", mentioned above, is a copy or filled-in version by famous writers in the Tang and Song Dynasties. Although this is a copy by a famous artist, the art of calligraphy itself is rich and colorful and extremely precious. "Kuai Xue Shi Qing Tie" (a Tang Dynasty manuscript), "Thousand Character Essays in Running Script" (some people think it is a Tang Dynasty poet Wang Xizhi's calligraphy edition), "Long Live Tongtian Tie", etc.
Wang Xianzhi's "Yatou Nine Tie" (the authenticity is inconclusive), "Mid-Autumn Tie" (copied by Mi Fu in the Song Dynasty), and "Twenty-nine Days Tie".
The authentic work of Wang Xun's "Bo Yuan Tie" is the only undisputed authentic work of a Jin Dynasty calligraphy work.
The two national treasures "Guide and Appreciation of Antiques" written by Chen Chongyuan, Wang Xianzhi's "Mid-Autumn Tie" and Wang Xun's "Boyuan Tie" are the only two existing pieces of ink written by Jin people. They have been inscribed since the Song Dynasty. It was collected in the palace and flowed into the private sector in the late Qing Dynasty. In the early Ming Dynasty, it was acquired by Guo Shiwu, the general manager of Yuan Shikai who was an apprentice in an antique shop. After the victory of the Anti-Japanese War, it once fell into the hands of Song Ziwen. Later, because Zhang Boju, a democratic figure in the country, Zhu Min, exposed the matter in the newspaper, Song Dynasty had to return it to Guo Shi's descendants. Later, in the early 1950s, it was pawned to a British bank in Hong Kong. Zhang Boju reported the matter passionately to Premier Zhou Enlai. Premier Zhou attached great importance to the protection of cultural relics and quickly sent a special person to Hong Kong to redeem the two items with a heavy sum of money before the pawn period expired.
The Tang Dynasty was an era when my country's feudal political economy and culture achieved great development. Poetry, painting, calligraphy, music, and dance in culture and art all radiated brilliant brilliance. The art of calligraphy reached another peak in the Tang Dynasty. The main feature is the development of individual calligraphy in Zhen, Cao, Li, Zhuan and Xing. In addition, the achievements made in running and cursive scripts are particularly huge and have a profound impact on the art of calligraphy in my country. Various calligraphy A large number of famous calligraphy masters have emerged in Tidu, and their calligraphy works, regardless of inscriptions or inscriptions, are indisputably authentic and have been handed down from generation to generation, which has greatly enriched the treasure house of calligraphy art in my country; the styles of various calligraphy styles reflect the "mood of the prosperous Tang Dynasty". "Most real calligraphers were born out of Wang Xizhi, but they also inherited the dual tradition of ink and tablets since the Wei and Jin Dynasties. They gradually stood out from the scattered and beautiful Wang family calligraphy school, and their styles became rigorous and vigorous, with strict laws. Cursive calligraphers, In particular, cursive calligraphers gradually followed the example of Bu Da and Xiao Wang (referring to Wang Xizhi and Wang Xianzhi's father and son) and tended to be more dynamic and free-spirited. Although seal script has not developed much, it can still describe the legacy of the Qin and Han Dynasties. The stars may be rigorous and vigorous, or energetic and rounded. new trend." This passage in "Chinese Calligraphy and Painting" edited by Mr. Yang Renkai better summarizes the characteristics of calligraphy art in the Tang Dynasty.
The major calligraphers and important inscriptions on inscriptions and inscriptions of the Sui, Tang and Five Dynasties include "Zhencao Thousand Character Essay" written by Chiyaga in the Sui Dynasty, which is in the collection of Ogawa Jianzhai's house in Japan.
Ouyang Xun of the Tang Dynasty wrote the official script "Zong Sheng Guan Ji", the authentic script "Inscription on the Relic of Zen Master Huadu Temple", the authentic script "Inscription on the Liquan of Jiucheng Palace" and other inscriptions; the ink ink includes the cursive script "Qian Shi" "Thousand-Character Essay", running script "Thousand-Character Essay" and "Historical Notes". Yu Shinan's "Confucius Temple Stele" (re-engraved in the Song and Yuan Dynasties), "Princess Runan's Epitaph", etc. Chu Suiliang's inscriptions include "Yique Buddhist Niche Stele", "Master Meng Stele", "Yanta Province Religion Preface", "Fang Xuanling Stele", "Tongzhou Sacred Religion Preface" and other inscriptions, as well as handed down ink ink "Dead Tree Ode", "Ni Kuan Zan" and so on are mostly written by later generations. Xue Ji's "Monument of Zen Master Xinxing" and so on, the above four people are known as the "Four Great Masters of Ou, Yu, Chu and Xue in the early Tang Dynasty".
The most famous cursive calligraphers in the Tang Dynasty are Zhang Xu and Huai Su. Zhang Xu's representative work is "Four Posts on Ancient Poems" handed down from generation to generation. Huaisu has many works handed down, and his famous ink writings include "Self-narrative Tie", "Kulu Tie", "Xiao Qianzi Essay", etc.
In the Tang Dynasty, real calligraphy achieved unprecedented development and achieved unprecedented achievements, which had a huge impact on the development of real calligraphy in later generations. Especially those who are new to calligraphy must start with real calligraphy, and learning real calligraphy must practice it. "Yan, Liu". Yan is Yan Zhenqing. His main surviving works include the inscriptions "Duobao Pagoda Induction Stele", "Oriental Painting Praise Stele", "Guojia Temple Stele", "Magu Immortal Altar", "Central Ode", "Yuanci Mountain Stele", "Send Jing Stele", "Yan Qin Li Stele", "Yan's Family Temple Stele", ink "self-reporting letter", "Zhushan Hall Couplet", etc. Liu Gongquan's main inscriptions include "Diamond Sutra", "Mysterious Tower Stele", "Shence Army Stele" and "Li Sheng Stele". Among the ink written down from generation to generation is the "Meng Poster", which has been famous throughout the ages.
There are many famous calligraphers of the Tang and Five Dynasties and their famous calligraphy works, such as Sun Guoting and his "Book Book", Lu Jianzhi and his "Lu Jiwen Fu", Zhong Shaojing and his "Zhuanlun" Wang Jing", Li Yong and his "Stele of General Yunhui", Xu Hao and his "Stele of Monk Fu Kong", He Zhizhang and his "The Classic of Filial Piety", Li Yangbing and his "Stele of City God's Temple", Shi Wei and his "Stele of Zen Master Dazhi" ", Cai Youlin and his "Monument of Yuchi's Return to the Temple", Han Zemu and his "Prison Letter to Hua".
In the Song Dynasty, the urban economy was developed, the scholar class was huge, and culture and art were very prosperous. Some emperors and concubines advocated and even practiced expression (such as Zhao Guangyi, Zhao Ji, Huizong of the Northern Song Dynasty, Zhao Gou, Gaozong of the Southern Song Dynasty, and Renzong of the Northern Song Dynasty). Empress Cao, Empress Yang of Ningzong of the Southern Song Dynasty, etc., especially Zhao Ji, whose thin gold style is unique and highly accomplished, had a certain influence on calligraphy of the Yuan, Ming and Qing Dynasties) taught new developments in the Sui, Tang and Five Dynasties. Due to the characteristics of social and cultural development, the art of calligraphy in the Song Dynasty included Zhen, Cao, Li, Seal and Xing scripts. Zhen script and Seal script had little success, while Cursive script and Li script rarely developed significantly compared with their predecessors. The most outstanding achievement in the art of calligraphy in the Song Dynasty was the running script represented by the "Four Masters of the Song Dynasty", namely "Su Huang Mi Cai". The running script of the Song Dynasty not only broke through the "two kings" style, but also went beyond the "Yan Liu" norms of the Tang Dynasty, forming a new style of calligraphy that was free and easy, lively, unrestrained and unrestrained, using meaning as the calligraphy. It can be called the art of calligraphy The "bold and unrestrained running script school" among them had a profound influence on the calligraphy circles of the Qing Dynasty and even modern times.
Su among the "Four Song Masters" is the famous writer Su Shi. His most famous representative works include "Huangzhou Cold Food Poems" in running script, "Dongting Spring Scenery Ode", and regular script "Red Cliff Ode", etc. Huang is Huang Tingjian, and his representative works include "Tie on the Seats in Cursive Script", "Poetry in Songfeng Pavilion" in running script, "Poetry for Forty-Nine Nephews" in running script, etc. Mi is Mi Fu, and he is a master of calligraphy who left behind a large number of calligraphy treasures. His representative works include "Tiaoxi Tie" in running script, "Elegy to the Queen Mother", "Sanzha in running script", "Shu Su Tie" and so on. Cai, in terms of calligraphy skills, should be Cai Jing, because he was a notorious sycophant whose character was despised by the world, so he was replaced by Cai Xiang, a famous official in the Northern Song Dynasty. His representative works include the running script "Zi Shu Shi Juan", the running script "Nandu Tie", "Shi Zha Juan", etc. What is listed here are only a few of their numerous calligraphy treasures that have been handed down to this day. Because they were all good at calligraphy and diligent, they were already very famous at that time. Some of them were officials all over the world. At that time, many people asked them to be the author of books, and many people asked them to write steles. Therefore, their calligraphy works are rich in ink and steles. , can be seen in many places across the country, and is also collected in some large foreign museums.
The literary style of the Song Dynasty was very prosperous. Scholars could not calligraphy, and their calligraphy skills were very impressive. Even if some unknown people at that time abbreviated social characters, their calligraphy skills would be as good as those who have just learned calligraphy for a few years today. Shame on those “calligraphers” who think they are great after just a few scribbles. The achievements of those calligraphers of the Song Dynasty who were recorded in Ming Dynasty should be mentioned even more. Li Jianzhong and his "Tong Nian Tie of Running Script" and "Tumu Tie", Ouyang Xiu and his "Ai Tie of Running Script" and "Self-written Poems", Wen Yanbo and his "Sanzha Juan of Running Script", Sima Guang and his "Zhonghe Tie" , Fan Zhongyan and his "Er Zha in Running Script" and "Praise for Taoist Fu", Lu You and his "Zi Shu Shi Scroll", Zhu Xi and his "Shi Zha in Running Script", Wei Liao Weng and his "Wen Xiang Tie", Wen Tianxiang and his " Thanks to Zhu Wuzuoyouci", etc. Although these people are known for their literary integrity or high-ranking officials who are more important than the world, their calligraphy art is also very accomplished, and their calligraphy works are all as precious as Gongbi.
The calligraphy of the Song Dynasty left another important legacy to future generations, which is the various calligraphy written by officials and private parties in the Song Dynasty. As mentioned above, the literary style was flourishing in the Song Dynasty, and many emperors, queens and concubines loved calligraphy. Their hobbies influenced the scholar-bureaucrats and formed the fashion of the whole society. Starting from the time when Taizong Zhao Guangyi collected the calligraphy of ancient sages and famous calligraphers to engrave "Chunhua Pavilion Tie", public and private engravings continued throughout the Song Dynasty. The most famous ones were Huizong Zhao Jilin's "Daguan Tie" and Mi Fu's "Baojin Zhaifa Tie". Due to historical changes since the Song Dynasty, most of the Etie editions have been lost to natural and man-made disasters over the past thousand years, and the remaining original rubbings are as rare as a feather.
The calligraphy art of the Song Dynasty is not as dazzling as the Jin and Tang Dynasties. As mentioned above. By the Southern Song Dynasty, the art of calligraphy was even less eye-catching and showed a trend of decline. There were no great calligraphers like Su Huang Mi Cai who could shine in the history of calligraphy. It was not until the Yuan Dynasty that the art of calligraphy in my country began to show some improvement. Calligraphers of the Yuan Dynasty, represented by Zhao Mengfu and Xian Yushu, conducted serious research and arduous exploration on the calligraphy of the Jin and Tang Dynasties, tried their best to imitate the calligraphy art traditions of the Jin and Tang Dynasties, and formed their own style of the times. However, due to the short history of the Yuan Dynasty, the cultural advocacy of the rulers was not as good as that of the Tang and Song Dynasties, so the calligraphy achievements were not as great as those of the Tang and Song Dynasties. The calligraphy styles of Xing, regular script and cursive script were greatly developed and the level was also high.
Zhao Mengfu was the most influential calligrapher in the Yuan Dynasty. His calligraphy was mainly in regular script, and also included some cursive scripts. His representative works include: "Danba Stele" in regular script, "Shenfu Guanji" in running script. "Luo Shen Fu", "Front and Back Chibi Fu", cursive "Thousand Character Essay", etc. Zhao Mengfu's calligraphy has a great influence on the calligraphy circles of the Ming and Qing Dynasties, and has a high reputation among Chinese calligraphers.
Xian Yushu was a calligrapher of the Yuan Dynasty who was second only to Zhao Mengfu in his time. He also specialized in running script and regular script, and was also good at cursive script. His main works include: "Laozhi Tao Te Ching" in regular script, "Wang Jinggong's Miscellaneous Poems" in cursive script, "Yu Shi Zhen" in regular script, "Thousand-Character Essay in Cursive Script", etc.
Other important calligraphers in the Yuan Dynasty include: Deng Wenyuan, whose representative works are the "Ji Jiu Zhang" volume in cursive script; Kang Li Kui Kui and his cursive script "Yan Lu Gong Shu Zhang Xu Fa Ji", "Fisher Father's Ci", etc.; Zhang Yu and his "Tang Dynasty Quatrains" " etc., Guo Min and his running script "Poems on the Green Jade Lotus Plate" volume, Yang Weizhen and his running script "Wan Zi Wo Ming" axis, cursive script "Dream Wandering in Haitang City Poem", Wu Rui and his "Li Sao Jing, Thousand Character Essay" complete Volumes, as well as a large number of artists who are good at painting and calligraphy and are famous for their paintings, such as Wang Meng, Ni Zan, Huang Gongwang, Wu Zhen, the so-called "Four Yuan Masters" and so on.
The art of calligraphy in the Ming Dynasty can be said to be in full bloom, with Zhen, Cao, Li, Zhuan and Xing all having certain achievements. In terms of styles and schools, there are some who studied Wei and Jin Dynasties stele style, Er Wang, Yan Liu, and almost studied Qian and Meng Fu, forming some artistic schools. The phenomenon of great painters also being calligraphers became more popular than in the Yuan Dynasty. The calligraphy circle of the Ming Dynasty also produced some accomplished calligraphers who had a greater influence on later generations, and left behind far richer calligraphy art treasures than those of previous generations.
Different from previous generations, the development of calligraphy art in the Ming Dynasty had distinct stages, and each calligraphy style had its own development context and outstanding representatives.
In the calligraphy of the early Ming Dynasty, real calligraphy achieved the greatest success, followed by cursive calligraphy. The representative figures include the so-called Three Song Dynasties (Song Ke, Song Guang, Song Can) and the Second Shen (Shen Du, Shen Can). Song Ke is the most famous. The real calligraphy at this time had a kind of mellowness, which was mainly popular among Hanlin and Zhongshu scholars. It was mostly used as calligraphy in memorials and prose. It was called "Taige style". Due to the promotion of the royal family, it became popular for a while and affected the entire country. Qing Dynasty calligraphy circle. Its representatives are Shen Du, Jiang Ligang and others. The cursive scripts of this period also had their own achievements, represented by Song Guang and Xie Jin.
In the middle of the Ming Dynasty, running script made great achievements, while regular script inherited the momentum of the previous period and developed somewhat, mainly to correct the relatively sluggish calligraphy of the once popular "Taige style". Representative figures of Xing and regular script include Zhu Yunming, Wen Zhengming, Wang Chong, Chen Daofu, Shen Zhou, Tang Yin, etc. They are both famous painters and accomplished calligraphers. The art of calligraphy and painting in our country originally came from the same source, with many of the same theories and methods, and the same artistic rules. Therefore, most of the people who practice painting are good at calligraphy, and many people who practice calligraphy are good at painting. In their place, calligraphy and painting are integrated into one. Because of this, people often discuss calligraphy and painting at the same time. Various dictionaries introduce characters, skills, etc., and calligraphy and painting are also called together. There are also achievements in cursive writing in this period, with wild styles, represented by Zhang Bi, Zhang Jun and Zhu Yunming.
Calligraphy started in the late Ming Dynasty, which is characterized by the emergence of a variety of calligraphy styles, each leading the way, all with major achievements and outstanding representative calligraphers. Regular script is represented by Dong Qichang, and cursive script is represented by Xing Dong , Fu Shan, were represented, and seal script was represented by Zhao Huanguang. There are also the cursive scripts of Zhang Ruitu, the official scripts of Ni Yuanlu and Huang Daozhou, etc. Dong Qichang has the greatest influence.
There were many calligraphers in the Ming Dynasty. In addition to the famous schools and eras mentioned above, calligraphers that should also be mentioned include: Qian Pu, Qian Bo, Chen Xianzhang, Cheng Nanyun, Li Dongyang, Wu Kuan, Wen Peng, Xu Wei, Mi Wanzhong, etc. Since the Ming Dynasty was relatively recent, only five or six hundred years old, there are so many calligraphy works handed down from generation to generation that they are too numerous to enumerate, so we can only omit them.
The Qing Dynasty is the most recent feudal era in modern times. The late Qing Dynasty lasted less than a hundred years. To today’s people, its calligraphy art is not very ancient. Lover’s calligraphy works that have been passed down to this day are easy to find. The important characteristics of calligraphy in the Qing Dynasty are: the predominance of calligraphy before the middle period, the popularity of stele studies in the middle and late period, the art of calligraphy has the tendency to regain its glory, and a large number of calligraphers who are famous in the history of calligraphy have emerged. For example, the indulgent and wild cursive or running cursive scripts of Fu Shan, Zhu Da (Bada Shanren), Shi Tao and others in the early Qing Dynasty are very imprinted by the times and very individual.
Due to the influence of Emperor Qianlong during the Qianlong and Jiaqing periods, Zhao Shu’s calligraphy once became a model for copying by bureaucrats and scholar-officials, the main representatives of which were Zhang Zhao, Dong Hao, Wang Youdun, etc. At this time, in addition to Zhao Zi, there were also many people with "Zhong Wang", "Yan Liu" and "Sumi" as their teachers, such as Weng Fanggang, Liu Yong, Tie Bao, Liang Tongwen, Wang Wenzhi, Qian Li, Yao Nai, etc. wait. There were even one-stroke calligraphers and painters known as the "Eight Eccentrics of Yangzhou" who were dissatisfied with Zhao and Dong Tie Xue who dominated the calligraphy world at that time. They boldly innovated and wrote unique and innovative calligraphy works. Such as Huang Shen's cursive script, Wang Shishen's official script, Zheng Banqiao's "six and a half script", and Jin Nong's "lacquer script".
From the beginning of the Qing Dynasty, Fu Shan began to "reverse the pasting of stele and advocate for stele". Until the Jiaqing period in the middle of the Qing Dynasty, the stele study became popular. In the late Qing Dynasty, calligraphy became the world of stele study. Drawing nutrients from the newly unearthed Han tablets, the art of calligraphy has become increasingly sophisticated, and the calligraphy world is gradually full of vitality. This is the important calligrapher: Deng Shiru, Yi Bingshou, Ding Jing, Huang Yi, Guifu, Chen Hongshou, Bao Shichen, He Shaoji, Zhao Zhiqian, Wu Xizai, Wu Changshuo and so on. Special mention should be made of Deng Shiru, who was excellent in calligraphy, cursive, official script and seal script. His achievements in calligraphy art were known as "the best in the Qing Dynasty". He Shaoji and Zhao Zhiqian were also well-known calligraphy masters in the calligraphy circles of the Qing Dynasty.