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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

　　（1644——1911）
　　The most distinctive feature of the calligraphy of the early Qing Dynasty was seen in the styles employed by the yimin (Ming Dynasty’s loyalists) calligraphers of the late Ming Dynasty. They retreated in the mountains and forests, and found their spirit sustenance in ink and brush. They opened new trends and made a great achievement in the development of Chinese calligraphy. In the early Qing period, the classical tradition dominated the calligraphy field and the style of Two Wangs was greatly revered by people of the time. Therefore, for a time, tiexue (the model-book school) continued to prevail. In the Qing Dynasty, because of the Emperors Kangxi and Qianlong’s personal preference for Dong Qichang and Zhao Mengfu’s calligraphy and the imperial stringency over calligraphy scripts from examiners in the imperial civil examination, the calligraphy in guange style (ornate courtly style), known for being dull black, stiff square, and shining, reached the peak of popularity at a time. Although there were many talented calligraphers with creative ideas and styles, their works could hardly draw any attention. Since the time of Emperors Qianlong and Jiaqing, along with the discovery of a large amount of ancient bronze and stone objects, the study of inscriptions on these objects started to flourish. Rubbings made from inscriptions on ancient stone steles and bronze vessels became the new examples for them to copy and study, and gradually people’s aesthetic tastes and creative concepts became altered. As a result, the “Resurgence of Calligraphy Principle” emerged. Theoretically, this time assertively promoted zunbei (admiration of the stele inscriptions), while practically many calligraphers developed their unconventional, unorthodox and individual styles. Their works reflected a certain clerical script flavor learned from the ancient inscriptions. The time allowed many calligraphy masters to appear. Their influence was so overwhelming and significant at the time and even last to the late Qing Dynasty and the early Republic period.