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    During Kangxi's reign, Jiang Chenying was one of the 'Four Great Calligraphers' of the time. Jiang (1628-1699) was born in Cixi. He was good at regular script and running hand, but his masterwork was written in beautiful cursive script and was like the ones of Dong Xiangguang. His regular script in small characters was full of scholastic elegance and looked better with each reading. Zhu Yizhun of Xiushui (the present Jiaxing) excelled at both official script and landscape painting. He classified the script into three kinds, namely, the square, the flowing and the fancifully ancient. He tried to reach the second stage, said him, to be both precise and naturally elegant. He rendered outstanding service in creating the ethos of Qing Dynasty official script in his efforts to call for stele studies. Jin Nong (1687-1763), one of the 'Yangzhou's Eight Geniuses ', was local in Hangzhou. He was an expert of regular script and cursive script, but accomplished most in official script. His heavy and powerful strokes of the character felt like having the strength of metals or stones. He also applied official script into his regular script, making it so distinct and impressive that it was called 'lacquer writing' Another one the 'Four Great Calligraphers in Qianjia's time' Liang Tongshu (1723-1815) was a resident of Qiantang. He was good at regular script and running hand, especially the big characters in grids. Even in his nineties, he kept writing inscriptions for people, never looking tired. Chen Hongshou (1768-1822) was also born in Qiantang. He was accomplished at running hand and ancient official script. Besides calligraphy, he was noted for his landscape and plant paintings, too. He enjoyed equal fame with Chen Yuzhong, and the two was always mentioned together as 'Er Chen (two Chens)'. When he was the county magistrate of Liyang, he created 18 new models of Zi-Sha pot together with Yang Pengnian, and wrote inscriptions on body of the pot in person. Such pots were called 'Man Sheng Pot' at the time. Yu Yue of Deqing tried skills of seal script and official script in his regular script, hence his unique style. All of his common corresponds were written in official script. Zhao Zhiqian (1829-1884) was born in Huiji. He transferred from his straightforward regular script to the refined Bei-Bei, and later even carried on the styles to cursive script to avoid stiffness. He was a positive agent who helped to clear away the fawning and weak style of model handwriting imitations and to boost stele studies. Wu Changshuo (1844-1927) of Anji, Zhejiang grew from copying Yan Zhenqin's works and applied himself to the research of stele inscriptions and Shi-Gu-Wen (inscriptions on drum-shaped stone blocks of the Warring States Period) counter-drawings. The ancient, simple but impressive Shi-Gu-Wen had great influence on Wu's calligraphy, painting as well as seal cutting. All his four scripts were vigorous and unique. Shen Zengzhi (1850-1922) of Jiaxing combined all ways of writing together, and his theories found their ways into Collection Of Hairi Lou and Postscript Of Hairi Lou. Mei Diaoding (1839-1906) of Cixi honored ancient calligraphers and later harmonized their works into his own. He emphasized smoothness at the turn and neatness of the strokes.
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