Chen Hongshou (1598-1652) was known as Zhanghou, Laolian, later Laochi, Huichi, Huisheng and Yunmenseng. A native of Zhuji, Zhejiang. A painter with innovative spirit and original style in the late Ming Dynasty. His ancestors came from a family of officials, but his father's family fell into decline. Chen Hongshou was smart at a young age and was good at poetry and calligraphy. He once studied painting flowers and birds with Lan Ying. As an adult, he went to Jishan, Shaoxing to study under the famous scholar Liu Zongzhou, and was deeply influenced by his character and knowledge. In the third year of Chongzhen (1630), he failed in the general examination. In the twelfth year of Chongzhen (1639), he went to Beijing for an official tour and worked closely with Zhou Liang. Later, he donated money and entered the Imperial Academy, where he was called as a layman and ordered to copy the portraits of emperors of the past dynasties. As a result, he was able to view the famous ancient and modern paintings collected in the imperial palace. After the fall of the Ming Dynasty, Qing soldiers invaded eastern Zhejiang. Chen Hongshou took refuge in Yunmen Temple in Shaoxing, where he became a monk and returned to secular life a year later. In his later years, he studied Buddhism and Zen, and made a career in painting in Shaoxing, Hangzhou and other places. Chen Hongshou was eccentric by nature, cynical and jealous. When he was going through hardships, most of his teachers and friends were righteous people. He is the author of "Baoluntang Collection".

Although Chen Hongshou is not famous for his calligraphy, his achievements in the art of calligraphy are quite amazing. Chen Hongshou strictly followed the central technique of writing, and he was well versed in the secret of writing with the palm upright and the wrist flat. Although there was a slight attack on Yan from the side during this period, he was able to adjust his pen immediately. Such superb pen control ability can undoubtedly only be achieved by holding the pen with the palm upright and the wrist flat. Furthermore, there seems to be no flaw in the outlines of calligraphy's "return to Tibetan", "lifting", "pause", "twisting", "echoing" and other brushwork techniques required by calligraphy. It’s just that there is no trace of it. This is the concrete embodiment of the state of being unimpressive in appearance, unbeautiful in faith and words, and cultivating yourself to the point of perfection. From his writing, we can feel that Chen Hongshou's state of mind when writing is joyful, tranquil, relaxed and joyful. The writing process seems to be the sweetest and most comfortable enjoyment for him. Therefore, it can be said that Chen Hongshou has found the best way to use calligraphy, and this method is the "true meaning" of calligraphy. As well as the twists and turns, they all serve the purpose of writing smoothly and creating a sense of beauty.