A Study On The Calligraphy Of The Early Ming Dynasty

The Ming dynasty is a special dynasty in the history of China’s feudal regime,when the monarchy dictatorship was extremely serious.Overview of Chinese art history,the development of calligraphy art was not unrelated to the imperial rule at that time.The intervention of political system and the preferences of emperors often had a significant change in the development of calligraphy.Cabinet style calligraphy is the product of such a dictatorship.Based on the study of the group of Chinese calligraphers in the phenomenon of cabinet style calligraphy in the Ming Dynasty,combined with the end of the Yuan Dynasty and the beginning of the Ming Dynasty,this paper tries to start from the concept and development of cabinet style calligraphy,through the group study of Chinese calligraphers in the early Ming Dynasty,sort out the generation,development and transformation of cabinet style calligraphy,dig deeply into its objective value besides practicability,and provide new ideas for contemporary calligraphy education.There are four parts in this paper: the foremost part is the overview of the cabinet style calligraphy in the Ming Dynasty.First,through the historical background of the Ming Dynasty,we understand the overall development of calligraphy in the early Ming Dynasty,focusing on the phenomenon of cabinet style calligraphy under the influence of the court style.The second is the group study of "Zhong Shu She Ren" in the early Ming Dynasty a comprehensive understanding of the Ming Dynasty’s Shuxue selection system and "Zhong Shu She Ren" the position of the setup and selection,the background of the formation of this group and members of a summary.The third chapter of the early Ming Dynasty Zhong Shu She Ren platform style calligraphy is the focus of this paper,first based on its development of a phased analysis,and then introduce the official documents of the Zhong Shu She Ren calligraphy and the epitaph inscription,epitaph calligraphy.The fourth chapter is the analysis of the representative calligraphers and their works in the early Ming Dynasty,and expounds the appearance of the style of the calligraphers outside the cabinet style calligraphy and the influence of different calligraphers on the development of calligraphy in the late Ming Dynasty and later.Through the study of individual calligraphers to dig out the motivation behind the calligraphers’ creation psychology and aesthetic psychology and analyze the double-track parallel phenomenon of calligraphers’ writing.In addition,it also affirms the positive effect of Ming Pavilion calligraphy on the dissemination of cultural classics.