{"id":339,"date":"2018-07-20T21:28:15","date_gmt":"2018-07-20T21:28:15","guid":{"rendered":"https:\/\/pressbooks.ulib.csuohio.edu\/calligraphy\/?post_type=chapter&p=339"},"modified":"2019-01-10T12:56:23","modified_gmt":"2019-01-10T12:56:23","slug":"yuan-ming-qing-dynasties","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/chapter\/yuan-ming-qing-dynasties\/","title":{"rendered":"Calligraphy in the Yuan, Ming, and Qing Dynasties"},"content":{"raw":"
This chapter focuses on the mastery calligraphers attained during the Yuan, Ming and Qing Dynasties and their unique styles that often evoked ancient writings. In\u00a0particular, seal and clerical script became sources of inspiration.<\/i><\/div>\r\n

Part I. Culture<\/h1>\r\n

1 Calligraphy during the Yuan<\/em>, Ming<\/em>, and Qing<\/em> Dynasties<\/h2>\r\n

1.1 The Yuan <\/em>(\u5143\/yu\u00e1n) (1279-1368)<\/h4>\r\n[caption id=\"attachment_908\" align=\"alignnone\" width=\"804\"]\"\" Figure 1: \u6d1b\u795e\u8d4b\/\u6d1b\u795e\u8ce6\/lu\u00f2 sh\u00e9n f\u00f9, Tale of the Goddess of Luo River[\/caption]\r\n\r\nThe Yuan<\/em> Dynasty, \u5143\/yu\u00e1n,\u00a0was the\u00a0empire\u00a0or ruling\u00a0dynasty\u00a0of China that Kublai Khan, the fierce leader of Mongolia, established. In governing, Yuan<\/em> emperors tried to hold true to traditional Chinese practices - to maintain harmony and improve the quality of domestic life. Major developments took place in the arts, including painting, calligraphy, poetry, and Qu<\/em> (\u66f2\/q\u016d, a type of classical Chinese poetry that consists of words written in one particular tone pattern developed from songs). The number of gifted artists and writers was noteworthy. For instance,\u00a0Zhao Mengfu (\u8d99\u5b5f\u982b\/zh\u00e0o m\u00e8ng f\u016d, 1254-1322),\u00a0a descendant of the\u00a0Song<\/em>'s\u00a0imperial family, was considered a significant Chinese\u00a0scholar,\u00a0painter,\u00a0and\u00a0calligrapher. \u00a0Figures 1 and 2 show examples of his calligraphy and painting.\r\n\r\n[caption id=\"attachment_913\" align=\"alignnone\" width=\"650\"]\"\" Figure 2: \u4e8c\u7f8a\u56fe\/\u4e8c\u7f8a\u5716\/\u00e8r y\u00e1ng t\u00fa (A Sheep and A Goat)[\/caption]\r\n

1.2 Ming<\/em> Dynasty (\u660e) (1368-1644)<\/h4>\r\n[caption id=\"attachment_938\" align=\"alignleft\" width=\"267\"]\"\" Figure 3:\u00a0Painting and calligraphy by \u6587\u5f81\u660e\/\u6587\u5fb5\u660e[\/caption]\r\n\r\nDuring the Ming<\/em> (\u660e\/m\u00edng) Dynasty\u00a0artists frequently broke with tradition, exhibiting a free, liberated, diverse style of calligraphy. And they were also accomplished in painting, writing and poetry. The most famous artists included\u00a0Wen Zhengming (\u6587\u5fb5\u660e\/w\u00e9n zh\u0113ng m\u00edng, 1470-1559),\u00a0Zhu Yunming (\u795d\u5141\u660e\/zh\u00f9 y\u016dn m\u00edng, 1460\u20131527), Shen Zhou (\u6c88\u5468\/sh\u0115n zh\u014du, 1427-1509), Tang Yin (\u5510\u5bc5\/t\u00e1ng y\u00edn, 1470-1523), Dong Qichang (\u8463\u5176\u660c\/d\u014fng q\u00ed ch\u0101ng, 1555-1636), Xu Zhenqing (\u5f90\u796f\u537f\/\u5f90\u798e\u537f\/x\u00fa zh\u0113n q\u012bng, 1479\u20131511), and Huang Daozhou (\u9ec4\u9053\u5468\/hu\u00e1ng d\u00e0o zh\u014du, 1585-1646) among others. Figure 3 consists of two pieces of artwork by \u6587\u5f81\u660e\/\u6587\u5fb5\u660e.\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n

1.3 Qing<\/em> Dynasty (\u6e05) (1644-1911)<\/h4>\r\n[caption id=\"attachment_956\" align=\"aligncenter\" width=\"640\"]\"\" Figure 4:\u00a0Calligraphy in seal script by \u9093\u77f3\u5982\/\u9127\u77f3\u5982[\/caption]\r\n\r\nStarting in the Qing<\/em> (\u6e05\/q\u012bng), scholars increasingly were inspired by the rich resources of overlooked ancient seal and clerical script inscriptions. Influenced by a close study of these antiquities, Qing<\/em> scholars became familiar with stelae. In doing so they helped to create a trend in calligraphy that complemented what is known as the Modelbook School<\/em>. Thus, this Stelae School<\/em> formed yet another link between past and present. Seal and clerical script became sources of innovation in Chinese calligraphy. Notable calligraphers from this period include\u00a0Deng Shiru (\u9093\u77f3\u5982\/\u9127\u77f3\u5982\/d\u00e8ng sh\u00ed r\u00fa, 1743-1805)\u00a0(See Figure 4 for his calligraphy work) and\u00a0Zhao Zhiqian (\u8d75\u4e4b\u8c26\/\u8d99\u4e4b\u8b19\/zh\u00e0o zh\u012b qi\u0101n, 1829-1884) (See Figure 5 for his calligraphy).\r\n\r\n[caption id=\"attachment_955\" align=\"aligncenter\" width=\"600\"]\"\" Figure 5:\u00a0Calligraphy in clerical script by \u8d75\u4e4b\u8c26\/\u8d99\u4e4b\u8b19[\/caption]\r\n

Part II. Calligraphy Writing<\/h1>\r\n

1 Strokes<\/h2>\r\nThis pair consists of two intricate strokes in which 3-to-4 turns are required. Calligraphers must make the turns by changing directions properly.\r\n\r\n\"\" \u00a0\"\"\r\n

2 Characters<\/h2>\r\n\u5ef6\/y\u00e1n\/ to extend\r\n\r\n\"\"\r\n

3 Homework<\/h2>\r\n3.1 Write the following Character: \u5efa\/ji\u00e0n\/to build\r\n\r\n\"\"\r\n\r\n3.2 Find how to write your Chinese name in regular style and practice under a teacher's guidance.\r\n\r\n3.3 If you don't yet have a Chinese name, ask your teacher for help with characters, pronunciation, meaning, and stroke order.\r\n\r\nTurn to a website to help you write your name using proper calligraphic rules. One site is: \u6c38\u6a02\u5728\u7ebf\u66f8\u6cd5\u5b57\u5178\u00a0Chinese calligraphy dictionary online (http:\/\/chinese-calligraphy-dictionary.wikichina.com\/<\/a>).\r\n

Part III. Additional Resources<\/h1>\r\n
    \r\n \t
  1. Chinese Calligraphy:\u00a0http:\/\/www.chinaonlinemuseum.com\/calligraphy.php<\/a><\/li>\r\n \t
  2. Chinese calligraphy: http:\/\/www.seeraa.com\/china-culture\/chinese-calligraphy-introduction.html<\/a><\/li>\r\n \t
  3. Principles of Chinese Calligraphy:\u00a0http:\/\/www.art-virtue.com\/principles\/p9-linmo.htm<\/a><\/li>\r\n<\/ol>","rendered":"
    This chapter focuses on the mastery calligraphers attained during the Yuan, Ming and Qing Dynasties and their unique styles that often evoked ancient writings. In\u00a0particular, seal and clerical script became sources of inspiration.<\/i><\/div>\n

    Part I. Culture<\/h1>\n

    1 Calligraphy during the Yuan<\/em>, Ming<\/em>, and Qing<\/em> Dynasties<\/h2>\n

    1.1 The Yuan <\/em>(\u5143\/yu\u00e1n) (1279-1368)<\/h4>\n
    \"\"
    Figure 1: \u6d1b\u795e\u8d4b\/\u6d1b\u795e\u8ce6\/lu\u00f2 sh\u00e9n f\u00f9, Tale of the Goddess of Luo River<\/figcaption><\/figure>\n

    The Yuan<\/em> Dynasty, \u5143\/yu\u00e1n,\u00a0was the\u00a0empire\u00a0or ruling\u00a0dynasty\u00a0of China that Kublai Khan, the fierce leader of Mongolia, established. In governing, Yuan<\/em> emperors tried to hold true to traditional Chinese practices – to maintain harmony and improve the quality of domestic life. Major developments took place in the arts, including painting, calligraphy, poetry, and Qu<\/em> (\u66f2\/q\u016d, a type of classical Chinese poetry that consists of words written in one particular tone pattern developed from songs). The number of gifted artists and writers was noteworthy. For instance,\u00a0Zhao Mengfu (\u8d99\u5b5f\u982b\/zh\u00e0o m\u00e8ng f\u016d, 1254-1322),\u00a0a descendant of the\u00a0Song<\/em>‘s\u00a0imperial family, was considered a significant Chinese\u00a0scholar,\u00a0painter,\u00a0and\u00a0calligrapher. \u00a0Figures 1 and 2 show examples of his calligraphy and painting.<\/p>\n

    \"\"
    Figure 2: \u4e8c\u7f8a\u56fe\/\u4e8c\u7f8a\u5716\/\u00e8r y\u00e1ng t\u00fa (A Sheep and A Goat)<\/figcaption><\/figure>\n

    1.2 Ming<\/em> Dynasty (\u660e) (1368-1644)<\/h4>\n
    \"\"
    Figure 3:\u00a0Painting and calligraphy by \u6587\u5f81\u660e\/\u6587\u5fb5\u660e<\/figcaption><\/figure>\n

    During the Ming<\/em> (\u660e\/m\u00edng) Dynasty\u00a0artists frequently broke with tradition, exhibiting a free, liberated, diverse style of calligraphy. And they were also accomplished in painting, writing and poetry. The most famous artists included\u00a0Wen Zhengming (\u6587\u5fb5\u660e\/w\u00e9n zh\u0113ng m\u00edng, 1470-1559),\u00a0Zhu Yunming (\u795d\u5141\u660e\/zh\u00f9 y\u016dn m\u00edng, 1460\u20131527), Shen Zhou (\u6c88\u5468\/sh\u0115n zh\u014du, 1427-1509), Tang Yin (\u5510\u5bc5\/t\u00e1ng y\u00edn, 1470-1523), Dong Qichang (\u8463\u5176\u660c\/d\u014fng q\u00ed ch\u0101ng, 1555-1636), Xu Zhenqing (\u5f90\u796f\u537f\/\u5f90\u798e\u537f\/x\u00fa zh\u0113n q\u012bng, 1479\u20131511), and Huang Daozhou (\u9ec4\u9053\u5468\/hu\u00e1ng d\u00e0o zh\u014du, 1585-1646) among others. Figure 3 consists of two pieces of artwork by \u6587\u5f81\u660e\/\u6587\u5fb5\u660e.<\/p>\n

     <\/p>\n

     <\/p>\n

     <\/p>\n

     <\/p>\n

     <\/p>\n

     <\/p>\n

     <\/p>\n

     <\/p>\n

     <\/p>\n

    1.3 Qing<\/em> Dynasty (\u6e05) (1644-1911)<\/h4>\n
    \"\"
    Figure 4:\u00a0Calligraphy in seal script by \u9093\u77f3\u5982\/\u9127\u77f3\u5982<\/figcaption><\/figure>\n

    Starting in the Qing<\/em> (\u6e05\/q\u012bng), scholars increasingly were inspired by the rich resources of overlooked ancient seal and clerical script inscriptions. Influenced by a close study of these antiquities, Qing<\/em> scholars became familiar with stelae. In doing so they helped to create a trend in calligraphy that complemented what is known as the Modelbook School<\/em>. Thus, this Stelae School<\/em> formed yet another link between past and present. Seal and clerical script became sources of innovation in Chinese calligraphy. Notable calligraphers from this period include\u00a0Deng Shiru (\u9093\u77f3\u5982\/\u9127\u77f3\u5982\/d\u00e8ng sh\u00ed r\u00fa, 1743-1805)\u00a0(See Figure 4 for his calligraphy work) and\u00a0Zhao Zhiqian (\u8d75\u4e4b\u8c26\/\u8d99\u4e4b\u8b19\/zh\u00e0o zh\u012b qi\u0101n, 1829-1884) (See Figure 5 for his calligraphy).<\/p>\n

    \"\"
    Figure 5:\u00a0Calligraphy in clerical script by \u8d75\u4e4b\u8c26\/\u8d99\u4e4b\u8b19<\/figcaption><\/figure>\n

    Part II. Calligraphy Writing<\/h1>\n

    1 Strokes<\/h2>\n

    This pair consists of two intricate strokes in which 3-to-4 turns are required. Calligraphers must make the turns by changing directions properly.<\/p>\n

    \"\" \u00a0\"\"<\/p>\n

    2 Characters<\/h2>\n

    \u5ef6\/y\u00e1n\/ to extend<\/p>\n

    \"\"<\/p>\n

    3 Homework<\/h2>\n

    3.1 Write the following Character: \u5efa\/ji\u00e0n\/to build<\/p>\n

    \"\"<\/p>\n

    3.2 Find how to write your Chinese name in regular style and practice under a teacher’s guidance.<\/p>\n

    3.3 If you don’t yet have a Chinese name, ask your teacher for help with characters, pronunciation, meaning, and stroke order.<\/p>\n

    Turn to a website to help you write your name using proper calligraphic rules. One site is: \u6c38\u6a02\u5728\u7ebf\u66f8\u6cd5\u5b57\u5178\u00a0Chinese calligraphy dictionary online (http:\/\/chinese-calligraphy-dictionary.wikichina.com\/<\/a>).<\/p>\n

    Part III. Additional Resources<\/h1>\n
      \n
    1. Chinese Calligraphy:\u00a0http:\/\/www.chinaonlinemuseum.com\/calligraphy.php<\/a><\/li>\n
    2. Chinese calligraphy: http:\/\/www.seeraa.com\/china-culture\/chinese-calligraphy-introduction.html<\/a><\/li>\n
    3. Principles of Chinese Calligraphy:\u00a0http:\/\/www.art-virtue.com\/principles\/p9-linmo.htm<\/a><\/li>\n<\/ol>\n","protected":false},"author":109,"menu_order":10,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[47],"contributor":[],"license":[],"class_list":["post-339","chapter","type-chapter","status-publish","hentry","chapter-type-standard"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/pressbooks\/v2\/chapters\/339","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/wp\/v2\/users\/109"}],"version-history":[{"count":53,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/pressbooks\/v2\/chapters\/339\/revisions"}],"predecessor-version":[{"id":1391,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/pressbooks\/v2\/chapters\/339\/revisions\/1391"}],"part":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/pressbooks\/v2\/chapters\/339\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/wp\/v2\/media?parent=339"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/pressbooks\/v2\/chapter-type?post=339"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/wp\/v2\/contributor?post=339"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/intro-to-chinese-calligraphy\/wp-json\/wp\/v2\/license?post=339"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}