In the thousands of years of calligraphy history, regular script has always been a mainstream. It has both strong practicality and aesthetic value. As a scholar of calligraphy, faced with a vast sea of ??famous monuments and texts, we must choose the good and follow them in order to reap the rewards. So what if you choose regular calligraphy? Below we propose several principles.

The best way to learn calligraphy

When you first learn calligraphy, you must follow the best way to learn calligraphy, otherwise you will fall into the bottom of the stream. So, what does it mean to take the Dharma? We believe that regularity and artistry are the criteria for testing the quality of regular calligraphy.

The so-called "regularity" means that whether it is basic stippling, or frame structure and composition, they all conform to the technical specifications that regular script should have. By copying it, one can master these technical specifications and be able to use them. And by analogy; the so-called "artistic" means that it is not only standardized and regular, but also its gestures, meanings and knots meet aesthetic requirements. It can be pleasant to look at, and intoxicating to experience.

Some people think that "the best method is to take the best method", that is, the more ancient the time, the better, but this is not the case. Regular script has gone through a long historical process from development to maturity, and the establishment and perfection of the rules was not like this at the beginning. It was only in the Tang Dynasty that regular script was fully prepared. Therefore, if you are a beginner, you should start with Tang Kai script. There is also a saying in practicing regular script that the big script should be done first and the small script should be done later. After you have a certain foundation, you can then learn the regular script of the Wei, Jin and Six Dynasties, and you can get the quaint and mellow taste beyond the rules. In regular script, for beginners, the ink script has clear beginnings and ends and clear strokes, making it easier to observe and may produce faster results.

It varies from person to person

The styles of regular script are diverse, some are simple, some are elegant, some are casual, and some are dignified. You can choose according to your own aesthetic taste. Good to choose. Some people like the regular scripts of Wang Yizhi, Wang Xianzhi, Liu Gongquan and Chu Suiliang, which can be imitated; some people like the vigorous and heavy scripts, such as the stele of Yan Zhenqing and Zheng Wengong, and they can imitate them; some people like square scripts, such as " "Zhang Menglong" and Ouyang Xun's regular script can be used as a reference; some people like round pens, such as "痗 Crane Inscription" and Yu Shinan's regular script are Zhengze.

Choosing a post is like choosing a mate. You must first like it, then you can build a relationship, and devote your energy to it, so that you can achieve the greatest results. You must not change your mind and wander around. On the surface, you are in hundreds of homes, but in fact you are one family. I don't know, it will only be a waste of time.

The following introduces four classic regular script scripts for your reference.

Ouyang Xun's "Jiucheng Palace Body Spring Inscription". Tang Ouyang asked for books. Written by Wei Zheng. It was carved in April of the sixth year of Tang Zhenguan (632). There are twenty-four lines of text and forty-nine characters in the line. On the forehead of the stele are the six characters "Jiucheng Gongtiquan Ming" in Yangwen seal script. The monument is in Linyou, Shaanxi. There are many Song rubbings handed down from generation to generation, among which the Northern Song rubbings collected by Li Qi, the consort of the Ming Dynasty, are the best and are now in the Imperial Palace Museum in Beijing.

This monument was written by Ouyang Xun in response to an imperial edict when he was 75 years old. The calligraphy is refreshing and extremely refined. His writing style is thin, hard and strong, and his characters are straight and smooth, with no mistakes at all. Chen Jiru of the Ming Dynasty commented on "The Complete Works of Meigong", "This post is like a person in the mountains, thin, hard, cold, and full of shyness. It can make princes bend their knees, and no one else can do it.

Except for the answer in practice. In addition to paying attention to the different shapes and changes of pointillism, you must also focus on the thinness and hardness of the lines, and the brushwork must be decisive and refreshing, and avoid being sloppy and hesitant.

Jiuchenggong Liquanming

Yan Zhenqing's "Yan Qin Li Stele". The full name is "The History of the Governor of Langkui Prefecture of the Tang Dynasty" written by Yan Zhenqing in the 14th year of the Tang Dynasty (779). It is inscribed on three sides. Xing, with thirty-eight characters. It was originally preserved in Xi'an, Shaanxi Province, and was lost to the public during the Song and Yuan Dynasties. It was rediscovered in the Forest of Steles in Xi'an.

This book was written by Yan Zhenqing for his great-grandfather Yan Qinli when he was 71 years old. A typical representative work of Yan Ti. The brushwork is sharp and vigorous, the structure is dignified and graceful, and the momentum is majestic and natural.

When practicing, please pay attention to the fullness and plumpness of the stipples, as well as the thickness and thickness of the lines. Contrast the changes in weight and weight, and at the same time, pay attention to the thin lines and not bloated lines.

Yan Qin's Stele

Chu Suiliang's "Preface to the Sacred Teachings of the Wild Goose Pagoda".

The full name is "The Preface to the Holy Teachings of the Tripitaka of the Tang Dynasty", also known as "The Preface to the Holy Teachings of Ci'en Temple". Fan Ershi was inscribed in the fourth year of Yonghui's reign in the Tang Dynasty (653), in October of the "Preface" and in December of the "Record". The main book of "Preface" has 21 lines and 42 characters. It is written by Li Shimin and written by Chu Suiliang. It is inscribed in Wanwen Shao. The full name of "Ji" is "The Emperor of the Tang Dynasty's Preface to the Tripitaka Sacred Religion", written by Li Zhi, Emperor Gaozong of the Tang Dynasty, and written by Chu Suiliang. The main script has twenty lines and four crosses. The text runs to the right. They are all under the Big Wild Goose Pagoda in Ci'en Temple, Xi'an, Shaanxi Province.

The font of this book is thin and strong, but sometimes has a running style. The pen is both square and round, and it is smart and expressive. Zhang Huaiguan of the Tang Dynasty commented: "The beauty Chanjuan seems to be incomparable to Luo Qi, her beauty is graceful and graceful, and she has a lot of grace." This is one of Chu's masterpieces and one of the successful examples of the combination of stele and calligraphy styles. When approaching the tomb, you should pay attention to the different changes in the glyphs, and strive to express the thinness, strength and sharpness of the lines. But you should also pay attention to the roundness of the lines and avoid being delicate.

Preface to the Holy Religion of the Wild Goose Pagoda

Yu Shinan's "Confucius Temple Stele"

Written and written by Yu Shinan. It was established in the ninth year of Tang Wude (626). It is said that during the Zhenguan period, only dozens of pieces of paper were carved and given to ministers, but they were soon destroyed. In the third year of Chang'an (703) during the reign of Emperor Wu of the Tang Dynasty, Wang Dan, the Prime Minister of Empress Wu, reengraved it. The main book has thirty-five lines and sixty-four characters. The forehead is inscribed in seal script "Tang Confucius Temple Monument" with six characters in Yin. Today, not a single stone remains if it is re-engraved. There are several reprinted editions in later generations, two of which are famous: one was engraved by Wang Yanchao of the Song Dynasty in Xi'an, Shaanxi Province, commonly known as the "Shaanxi edition" or "Ximiao Tang Stele". The second one was re-engraved in Chengwu, Shandong between the Yuan Dynasty and the Yuan Dynasty, commonly known as "Chengwu Ben" or "East Temple Hall Stele". The old ink copy collected by Li Zonghan in Linchuan, Qing Dynasty, also known as Tang rubbings, is the best rubbing in existence.

This book is round and jade-shaped, elegant and subtle, with soft writing on the outside and hard on the inside, with calm power. The body is solemn and quiet, stretching freely, like a frail elder, which is awe-inspiring.

Confucius Temple Monument