The calligraphic theory and aesthetic ideals of Dong Qichang, a unique master of the late Ming calligraphic world, were the product of the interaction of Yangming Philosophy, Cheng-Zhu’s philosophy, and Zen Buddhism, which allowed him to continue the pursuit of individualized spirit of writing advocated by the Song dynasty’s “Shang Yi” style of calligraphy, thus implicitly conforming to the Gongan School’s purpose of “expressing one’s heart”, while not crossing the fence and living in harmony with the orthodox scribe’s concept of science; Dong’s calligraphic thought, which was more or less “harmonious,” had a wide impact after his death.

Dong Qichang’s book material to its lifetime engraved Rong tai ji and Xi hong tang fa tie and compiled by others Hua chan shi sui bi as the bulk, calligraphy and painting books and other writings on Dong’s book inscriptions are also occasionally included, these have become the dissemination of its calligraphy theory. Dong’s calligraphy theory can be briefly summarized as three aspects: firstly, the historical view of calligraphy; secondly, calligraphic evaluation; thirdly, the concept of learning and techniques. Qing dynasty on Dong Qichang calligraphy theory of acceptance that is from the specific point of view under these three aspects. While the acceptance of Dong Qichang’s calligraphic ideas by the Qing dynasty presents a complex picture of approval and refutation, elaboration and revision. In the early Qing dynasty book world general Chong Dong style, Dong’s views and spirit in the calligraphic theory although more can be inherited and carried forward, but also face being questioned, refuted and revised. And in the late Qing dynasty, along with the gradual decline of the postscript and the growing monuments, Dong’s style of calligraphy, although more neglected, and even discarded, some of his calligraphic views can still be accepted, showing a strong vitality.