The Late Ming Dynasty’s Expressionistic Calligraphy Style

During the late Ming Dynasty,the art of calligraphy has a great development,especially as the representative of expressionistic calligraphy style of the late Ming Dynasty. The late Ming Dynasty’s expressionistic calligraphy style is started by Xu Wei,Zhang Ruitu and Huang Daozhou,Ni Yuanlu as successor,Wang Duo as a master,Fu Shan as the rearguard, distinctive style,unique,occupies an important position in the history of Chinese calligraphy.Effect of the late Ming Dynasty’s expressionistic calligraphy style began from the Qing Dynasty and lasted to today,and even affected the development of Japanese calligraphy.The late Ming Dynasty’s expressionistic calligraphy style,to clarify the inner logic of the development of the history of Chinese calligraphy,especially to learn Chinese posts calligraphy development context has an important significance.Xu Wei as a pioneer of Expressionism in the late Ming Dynasty calligraphy,is the excellent starting point to learn about the late Ming Dynasty’s expressionistic calligraphy style.This paper begins with the analysis of the background of the late Ming Dynasty’s expressionistic calligraphy style,which firstly gives a brief introduction the overall background, then focus on individual Xu Wei,as an example in-depth to analysis the formation background of the late Ming Dynasty’s expressionistic calligraphy style formation background.That in the political environment,darkness and corruption;social economy,with the development of commodity economy "strange" aesthetic forms;in philosophy,Yangming, Li Zhi "childlike innocence" theory rise, raised to the liberation frenzy of self main body thought; in the interior of the calligraphy, calligraphy in the Ming Dynasty has been in blindly Mogu and archaism of deadlock. Secondly,study on Xu Wei’s life and teachers, understand Xu Wei’s suffering hardships of life and his beloved teacher, especially the influence of Wang Ji, Ji Ben, Chen he on his ideas,aesthetic appreciation of calligraphy and calligraphy theory in-depth.Based on Xu Wei’s calligraphy works and calligraphic discourses, focus on the study of Xu Wei’s calligraphy theory,which means attach importance to traditional calligraphy techniques,also oppose archaism, advocate "ancient and dense,Mei and scattered", stressed that" I" in nature.Then analysis of Xu Wei’s important pioneering role and transitional role in the late Ming Dynasty’s expressionistic calligraphy style.Besides,briefly introduce the other representative Calligrapher’s lives of the late Ming Dynasty’s expressionistic calligraphy style, focus on the analysis of the representative calligraphic works of the late Ming Dynasty expressionistic calligraphy style,summarizes the main features of the late Ming Dynasty’s expressionistic calligraphy style，which is vertical shafts, wild unrestrained, Tian Cheng emotionalism.Finally, analysis of the late Ming Dynasty’s expressionistic calligraphy style throughout the history of the significance of Chinese calligraphy.Firstly, analysis of the effect of late Ming Dynasty’s expressionistic calligraphy style in the Qing Dynasty, especially the effect of the Monument Calligraphy’s emergence and development in the middle of Qing Dynasty.The elaborate the expressionistic calligraphy style of the late Ming Dynasty on the contemporary perspective.The late Ming Dynasty’s expressionistic calligraphy style is the last peak of ancient Chinese traditional post calligraphy art, an excellent event in the history of Chinese calligraphy. Study of the late Ming Dynasty’s expressionistic calligraphy style, can let the contemporary calligraphers and calligraphy researchers avoid some unnecessary detours.But researchers who focus on the late Ming Dynasty’s expressionistic calligraphy style is very few, only a few researches either focus on the entire calligraphy of the late Ming Dynasty, or single late Ming Dynasty’s expressionistic calligraphy representative calligraphers, or focus on the causes and background for the late Ming Dynasty’s expressionistic calligraphy, the whole research of the late Ming Dynasty’s expressionistic calligraphy is relatively less.I try my best to finish this paper and I look forward to the criticism from everybody.