Dong Qichang (1555-1636), courtesy name Xuanzai, nickname Sibai, and Xiangguang Jushi, was born in Huating, Songjiang (now Songjiang County, Shanghai). He served as the Minister of Rites in Nanjing and was given the posthumous title Wenmin. Known as "Dong Xiangguang", "Dong Wenmin" and "Dong Huating" in the world, he was famous for his calligraphy and painting in the late Ming Dynasty.
Dong Qichang's path to learning calligraphy was very difficult. The reason was that his calligraphy was not good in the exam, so he worked hard and became famous. This is described in his "Essays on Painting Zen Rooms", in which he also described his learning process: "I first studied Yan Pingyuan's "Duobao Pagoda", and then changed to study Yu Yongxing. He thought that Tang books were not as good as Jin and Wei, so he imitated "Huang Ting Jing" and Zhong Yuan Chang "Declaration Table", "Li Ming Table", "Huan Shi Tie" and "She Bing Tie", every three years, claiming to be following the ancient times... I traveled to Jiaxing and saw all the authentic works in Xiang Zijing's family collection, and also saw Youjun's "Guan Nu Tie" was in Jinling, and Fang Wu once arbitrarily commented on it." It can be seen that he carefully copied the ink of ancient famous masters, and was able to integrate the strengths of each school in terms of the use of pen, ink and structure. . Taking the ancients as his teacher and the ancients as his method, his calligraphy achievements can be attributed to his hard work and diligence, and his ability to understand and reflect deeply. On the other hand, he cannot ignore his interactions with the great collector Xiang Yuanbian, who can fully appreciate his calligraphy achievements. Many authentic paintings and calligraphy. Calligraphy reached Dong Qichang, which can be said to be the culmination of ancient methods. The "Six Styles" and "Eight Methods" were mastered by him. At that time, he was already "famous in foreign countries. His short calligraphy with short rulers was circulated in the world, and people competed for it." "("History of Ming Dynasty·Biography of Wenyuan"). Dong Qichang's proficiency in official career was unmatched by the previous calligraphers of the Ming Dynasty. In the Qing Dynasty, Kangxi praised and favored Dong's book even more, and even copied Dong's calligraphy in person. He often placed it on the right side of his seat and watched it morning and evening. Wang Wenzhi, a famous calligrapher in the Qing Dynasty, once praised in his "On Calligraphy Quatrains": "Dong Huating is a divine calligrapher, and his ink is clear and spiritual. Unless everyone avoids the banquet in Pingyuan, why talk about Zhang Xing at the same time." At that time, all scholars imitated Dong Qichang. With his beauty and softness, the calligraphy world in the early Qing Dynasty was shrouded by Dong Qichang. The decline of calligraphy style is really a tragedy for the calligraphy world. There are also many critics of Dong Qichang, with Bao Shichen and Kang Youwei being the most fierce. Kang Youwei's "Guang Yi Zhou Shuang Ji" says: "Although Xiang Guang is famous, he is like a Taoist priest who has no food, and his demeanor is frugal. If you encounter a general who has organized an army with great force, built towering barriers, and whose flags have changed colors, he will definitely be bound and afraid to go down the mountain. .”
His calligraphy is most accomplished in cursive script. His cursive script is based on the "Two Kings" and he also benefited from Yan Zhenqing, Mi Fu and Yang Ningshi. Zhao Mengfu's calligraphy style also influenced his creation to a greater or lesser extent. Cursive script is rooted in Yan Zhenqing's "Struggle for Seats" and "Manuscript of Sacrifice to Nephew", and has Huai Su's roundness and Mi Fu's ups and downs. The pen is skillful and can always maintain a straight edge. There are very few clumsy or clumsy strokes in the works. The ink is also very particular, with dry and wet shades, making the best use of it. The style is calm and natural, quaint and peaceful, or different from others. All day long temperament is related to Yi and understanding of Zen principles. Many works have grass in the lines. The painting on the left has Yan Zhenqing's frankness in his brushwork, his body posture is like that of Mi Fu, and his layout is Yang Ning's leisurely and comfortable style. His expression and charm are like Zhao Mengfu's, light and easy. Elegance and self-sufficiency. Dong Qichang is also quite proud of his regular script, especially small regular script.
Dong Qichang is knowledgeable and proficient in Zen theory. He is an accomplished calligrapher and painter who has a certain status in the history of Chinese art. His "Essays on Painting a Zen Room" is an extremely important work in the study of Chinese art history.
