A Research Into The Acceptance Of Zhao Mengfu’s Calligraphy In The Yuan, Ming And Qing Dynasties

In the history of Chinese calligraphy, Zhao Mengfu is another monumental figure after Zhong Yao and Wang Xizhi in Wei and Jin dynasties, the great masters in Sui and Tang dynasties and the four great masters in Song dynasty, since in a comparatively unique historical moment, he put forward the ideology of "Learning from the ancient" in calligraphy, which triggered a ferocious trend of learning from the ancient in Yuan dynasty, and worshipping Wei and Jin dynasties. Such a trend penetrated the whole Yuan dynasty, and continuously influenced the study and transformation of calligraphy in Ming and Qing dynasties, the Republic of China and the influence can be seen even today. The formation of Zhao Mengfu’s calligraphic ideology was not based on nothing, but on the foundation of predecessors. Yet his level of practical application in calligraphy stepped over the Song dynasty (at least the entire Southern Song dynasty), was abreast of the Tang dynasty and can be traced back to the Wei and Jin dynasty. The development of Neo-Confucianism in Southern Song dynasty not only directly had an impact on Zhao’s writings on the study of Confucian classics but also penetrated his logical connections in calligraphy. More importantly, the widespread of Neo-Confucianism in Southern Song dynasty in Northern China directly changed the learning there and it was highly valued by Mongol rulers, as a consequence, while going on a punitive expedition, they paid more attention to recruit Confucian Scholars and gradually put those who knew how to utilize their knowledge for solving affairs in realities in important positions. Under such a circumstance when Mongol rulers emphasized Neo-Confucianism and Confucian Scholars and with a ruling policy when the government recruited Confucian Scholars for civil administration, Zhao Mengfu fortunately appeared in history. After Zhao Mengfu appeared on the scene, with his prudent attitude and wise manner cultivated by learning Neo-Confucianism, as well as his the best for a time versatility, he was fully trusted and greatly favored by the emperors of Yuan dynasty which spanned four generations. By virtue of his political status, his calligraphy and calligraphic ideology can be accepted to the largest extent by Yuan dynasty. In Ming dynasty, although he was passed away, his style and ideology was still overall accepted and learned by the public. Yet in the late Ming dynasty, owing to thevicissitudes of dynasties, Han region was again confronted with the fact of being ruled by alien race, some literati made an issue of him and he was deliberately belittled. Until Qing Dynasty, since emperors were fond of Zhao’s calligraphy, his style was again put on the foreground of history and became influential across a grand scale. Apart from political elements, the academic mainstream in each period also exerted non-negligible influence over the acceptance of Zhao’s calligraphy. Besides, other issues led to different levels of acceptance, either profound or superficial, toward Zhao’s calligraphy, such as time and repetitive inscriptions becoming increasinglyunrecognizable can also not be ignored.。 After clarifying these elements, let’sdiscern the evolution of the acceptance of Zhao’s calligraphy and its reasons in Yuan dynasty and afterwards.