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.