On The "Sex" And "Gong" Of Calligraphy In The Early And Mid Ming Dynasty

The theory of “Xing” and “Gong” is an important theoretical issue in the calligraphy theory since Yuan and Ming Dynasties.The “Xing” and “Gong” of calligraphy in the early Ming Dynasty showed the characteristics of using diligence,combination with the nature,and advocating virtue.Meanwhile,writers at that time emphasized the transforming relationship between "Shu,Jing,Qiao and Shen ".However,”Taige” writers were so obsessed with “Instrumental rationality” that their pieceworks showed the same style which were all lack of personality.To Hongzhi and Chenghua period,on the one hand,the writers started paying attention to the order of learning calligraphy.At the same time,personalized "self-satisfying" trend appeared as well.Zhang Bi and Li Yingzhen pursued a personality that is not bound by the ancients while Shen Zhou emphasizes the style of seeking self from tradition.Writers also advocated the way of working with "self" and “Zi Xin” as the starting point which was a relationship with “Xing” leading “Gong”.Since the beginning of Ming Dynasty,the attitudes of the writers towards Song and Yuan calligraphy had changed.Behind this change is the difference in the “Shen Cai” that the writers are pursuing.The changes in the relationship between “Xing” and “Gong” have both their inherent developmental logic and external environmental influences.Through the research in these aspects,we can get the calligraphy historical meaning of this period which inheriting the calligraphy traditions of Song,Yuan,Jin and Tang,and opening the following "Wu Men Style".