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• The Exhibition OF Mawangdui Han Tombs
• The Exhibition of Shang and Zhou Bronzes Found in Hunan
• The Exhibition of Ceramics from Famous Kilns in Hunan
• Exhibition of Calligraphies in the Ming and Qing Dynasty
• 　 - Calligraphy in the Ming Dynasty
• 　 - Resurgence of Calligraphy in the Qing Dynasty
• Exhibition of Paintings Created in the Ming and Qing Dynasties
• Exhibition of Ten New Major Archaeological Discoveries in Hunan

　　（1368——1644年）
　　Calligraphy in the Ming Dynasty advocated the classical traditional Fatie model (or the model-book school). The model-book school paid a close attention to the composition and structure of calligraphy. In the early Ming Dynasty, emperors required that calligraphy be taken into consideration when the imperial court employed officials. This led to the popularity of the “Taige” style (ornate courtly style). This style became the standard style which toadied to the imperial examination. In the middle of the Ming Dynasty, the publication of Fatie (model-book) calligraphy was prosperous. The craving for the model-book school calligraphy prevailed so much, that it became the established model for Chinese calligraphy then. Among many calligraphers who practiced the calligraphy style, the most influential representatives came from the Wumen (now Suzhou) region. They traced the calligraphy style back to the Jin and Tang Dynasties and revised the “Taige” style. Some calligraphy styles are precipitous and graceful, while others are classical and unadorned, and still others are refined and elegant. With maximum attention, these calligraphers showed their own tastes and styles. This phenomenon became a common practice at that time. In the late stages of the Ming Dynasty, schools of calligraphy became numerous and distinctive. Some calligraphers advocated the study of ancient masters’ calligraphy and developed their own classical, graceful and straightforward styles. Meantime, others broke away from the calligraphy tradition of the Tang Dynasty that upholds the styles of calligraphers Wang Xizhi (321-379) and Wang Xianzhi (344-386). Their works were extremely abrupt and innocently romantic. With their tireless efforts and unique styles, they opened up a new prospect towards the end of the Ming dynasty.