It is regular script.

Regular script is also called Zhengkai, Zhenshu, and Zhengshu. It gradually evolved from the official script founded by Cheng Miao, becoming more simplified, horizontal and vertical. "Cihai" explains that it "has a square shape and straight strokes, which can be used as a model." Hence the name regular script. It began in the late Han Dynasty and has been popular ever since. The emergence of regular script closely followed the rules and regulations of the Han Dynasty, and pursued the further development of physical beauty. At the end of the Han Dynasty and the Three Kingdoms period, the writing of Chinese characters gradually changed from waves and stilts to apostrophes, slugs, and

The gestures such as "side" (point), "plunder" (long stroke), "pecking" (short stroke), and "lift" (straight hook) make the structure more rigorous. Such as "Wuwei Medical Slips", "Juyan Han Slips", etc. The characteristic of regular script is that it is neat and orderly. It is a model among fonts, so it is called regular script and has been used to this day. [1]

You Zhonghui's regular script

The regular script has the meaning of model, which has been mentioned in Zhang Huaiguan's "Shu Duan". People in the Six Dynasties still used it habitually, for example, Yang Xin's "Cai" article, Wang Sengqian's "Lun Shu Wei Dan Biography" said: "Dan Zi Zhongjiang, a native of Jingzhao, good at regular script." That is "eight points." The abbreviation of "Kaifa". It was only in the Northern Song Dynasty that it replaced the name of the official book. Its content is obviously different from the ancient name. Examples of different names but the same name but the same name but the same reality are probably the above.

Regular script was the most popular calligraphy style in my country’s feudal society from the Northern and Southern Wei to the Jin and Tang Dynasties. Before the emergence of regular script, my country's calligraphy had produced three calligraphy styles: large seal script, small seal script and official script. Dazhuan is relative to Xiaozhuan. Generally, all ancient characters before Xiaozhuan are collectively called Dazhuan, including oracle bone inscriptions, bronze inscriptions and the characters of the Six Kingdoms except Qin during the Warring States Period. Xiaozhuan was the script that became popular after the Qin unified China. It was based on the characters of the Qin State, with reference to the characters of other vassal states, and was simplified and standardized for the convenience of writing. This was the first standardized calligraphy style in the history of Chinese calligraphy. Official script is another representative calligraphy style that emerged after Xiaozhuan. It was produced on the basis of Xiaozhuan. The emergence of official script is a great revolution in Chinese characters. Its significance is not only that Chinese characters have become symbolic, but more importantly, it has changed the writing style and aesthetic trend of Chinese characters, thus laying the foundation for the emergence of regular script calligraphy art, and thus for China The development and prosperity of calligraphy art has opened up a vast world.

As a result, the art of calligraphy in regular script (called official script at that time, which assisted small seal script and made writing faster) was directly nurtured in the various calligraphy fields during the Qin and Han Dynasties. Following its rules, the development history of Chinese regular script can be divided into four periods: the embryonic period of regular script - Qin and Han Dynasty, the development period of regular script - Wei, Jin, Southern and Northern Dynasties, the prosperous period of regular script - Sui, Tang and Five Dynasties, and the period of regular script preservation. ——Song, Yuan, Ming and Qing.

Song Xuanhe's calligraphy records: "In the early Han Dynasty, Wang Cizhong began to write regular script in official script." The regular script here actually refers to the eight-point script created by Wang Cizhong, not what is called regular script today. It is also said that "on the tomb of Confucius, Zigong planted a regular regular tree with straight branches and not bending." The strokes of regular script must be simple and clear, and they must be like the branches of the regular script tree.

2 Calligraphy chronology editor

Calligraphy font classification

Calligraphy font representative works

Calligraphers

Reference chronology

Seal script

Taishan stone carvings

Li Si

Qin 219 BC

Official script

Baoxie Dao carved stone

Anonymous

Han AD 63

Cursive script

Cursive script

Suo Jing

Jin AD 239-303

Regular Script

Declaration Form

Zhong Yao

Three Kingdoms 151-230 AD

Running Script

Lanting Preface

Wang Xizhi

Eastern Jin Dynasty 303-361 AD

Yan Book Yueyang Tower Posted by Ma Yongan ***He Guo 1949 -

3 Category Editor

Appreciation of regular script amp; amp

1~2 cm is small regular script (small characters), those above 5 cm are large characters (large characters), and those in between are medium characters.

But this is only a general classification. In fact, in real life, small characters smaller than 1 cm and large characters as large as 1.8 meters have appeared.

Xiaokai

Xiaokai, as the name suggests, is the smallest form of regular script and was founded by Zhong Yao in the Wei Dynasty of the Three Kingdoms. He was originally the most outstanding authoritative master of official script. The style of his regular script was also derived from Han official script. His writing style was like a flying giant playing in the sea, which was extremely vivid. However, the structure is wide and flat, the horizontal strokes are long and the straight strokes are short, which still retains the legacy of official script. However, the regular script has been fully prepared, and it is actually the ancestor of the official script. In the Eastern Jin Dynasty, Wang Xizhi studied the small regular script calligraphy more carefully, bringing it to a state of perfection, and also established the standard for the appreciation of the beautiful small regular script calligraphy in China.

Dakai script

Generally, people refer to real books that are more than an inch and less than a few inches square as Dakai script. Larger real books with large characters are called "Bangshu" and "Zhaohushu". According to the accumulated experience of calligraphers of the past dynasties, when learning calligraphy, you should first write regular script and do basic exercises. Master the stippling, structure, and layout of large regular script well, so that the stippling is accurate and precise, and the structure is appropriately dense. Then you can retreat to small regular script to achieve a broad and open structure, and the rules of stippling are clear; then the book list can be dense and seamless. The spirit is magnificent and will not lead to lack of spirit.

4 Evolution Process Editor

Youzhonghui Regular Script

The regular script generally referred to today gradually evolved from Han Li. According to the period, It can be divided into Wei stele and Tang Kai. Wei stele refers to the calligraphy style of the Wei, Jin, Southern and Northern Dynasties. It can be said to be a transitional calligraphy style from official script to regular script. Zhong Chishuai's "Xue Xuan Calligraphy" states: "Wei stele calligraphy inherits the lingering charm of Han official script and inspires The forerunner of Tang regular script. "Wei stele often contains official script writing in it, so its regular script nature is not yet mature. However, precisely because of this immaturity, it creates a scene of a hundred flowers blooming and a strange mood. This kind of unique beauty was praised by Kang Youwei as "the ten beauties of Wei stele". Regular script in the narrow sense refers to Tang Kai script that gradually matured after the Tang Dynasty. Its representatives include Ouyang Xun, Yu Shinan, Chu Suiliang, and Xue Ji in the early Tang Dynasty, Yan Zhenqing in the middle Tang Dynasty, and Liu Gongquan in the late Tang Dynasty. We often call the four masters of regular script "Yan Liu, Ouzhao", the first three were in the Tang Dynasty. By the end of the Tang Dynasty, regular script had reached its peak and the style was too regular, so it gradually declined. However, "Tang books emphasize method and Song books emphasize meaning." Su Shi of the Song Dynasty created the plump, innocent and innocent "Su style" with his poet style, which can be called "the first in the Song Dynasty". Zhao Mengfu at the end of the Song Dynasty and the beginning of the Yuan Dynasty, with his tranquility and smoothness, formed the "Zhao style", which is also the "Zhao" among the four major schools. However, strictly speaking, the "Zhao style" should belong to the Xingkai style and is no longer a regular style. regular script, so beginners generally start with one of the three "Yan Liu Ou" styles, which is also recognized as the right way to learn calligraphy. Below I will compare these three styles from multiple angles, and from some angles, I will also refer to Wei Bei and Zhao Style, in order to comprehensively understand regular script individuals. The above focuses on comparing the styles and characteristics of the "Yan Liu Ou" three-body style. There are both the influence of the times and personal factors. For example, the Ou style was formed in the early Tang Dynasty and was greatly influenced by the Wei stele; the Yan style was influenced by the Tang Dynasty and later Influenced by the aesthetic view that fat is beautiful, the body is plump; while the Liu body is because Liu Gongquan is an upright person, and "a person who is upright means his character is upright". [2]

Early period

In the early period of "regular script", there are still very few official scripts left. The structure is slightly wider, with long horizontal paintings and short straight paintings. In the Wei and Jin Dynasties handed down, Among them, such as Zhong Yao's "Declaration Table" (left

Representative regular script works of the past dynasties (3 pictures)

Picture), "Jian Ji Zhi Biao", Wang Xizhi's "Le Yi Lun" , "Huang Ting Jing" and so on, can be regarded as representative works. Looking at its characteristics, it is just as Weng Fanggang said: "The wave painting of the official script is changed, and the horizontal and straight lines of the ancient official script are still retained."

Wei

After the Eastern Jin Dynasty, the north and the south split, and calligraphy was also divided into two schools. The Northern style calligraphy has the legacy of the Han Dynasty. The writing style is clumsy and vigorous, but the style is simple and strict. It is better than the list of books. This is the so-called Wei stele. Southern calligraphy is mostly sparse, graceful and subtle, and is better than rulers and tablets. In the Southern and Northern Dynasties, due to regional differences, personal habits and calligraphy styles were very different. The northern books are strong and the southern books are borrowed, and each is perfect, regardless of superiority or inferiority. However, Bao Shichen and Kang Youwei strongly praised the books of the two dynasties, especially the stele style of the Northern Wei Dynasty. Kang cited ten beautiful things to emphasize the advantages of Wei stele.

Tang

The regular script of the Tang Dynasty is like the prosperity of the country in the Tang Dynasty, which is truly unprecedented. The style of calligraphy has matured and calligraphers have emerged in large numbers. In terms of regular script, Yu Shinan, Ouyang Xun, and Chu Suiliang in the early Tang Dynasty, Yan Zhenqing in the mid-Tang Dynasty, and Liu Gongquan in the late Tang Dynasty were all valued by later generations and regarded as models for calligraphy practice.

The ancients had this saying when learning calligraphy: "To learn calligraphy, you must first write regular script, and to write calligraphy, you must first write large characters. Large characters use Yan as the method, and Chinese regular script uses European style as the method. Once you are familiar with Chinese regular script, you can then focus on it. It is in regular script and King Zhong is the law." However, the results of many years of experimental research show that when you first learn to write, it is not advisable to learn characters that are too large first, and Chinese regular script is more suitable.

Regular Script

The regular scripts of the three great calligraphers of the early Tang Dynasty, Ouyang Xun, Yu Shinan and Chu Suiliang, are all the most suitable copy models for Chinese regular script. The respective brief introductions are as follows:

Ouyang Xun's block script originated from ancient Li, based on Erwang style, and referenced the calligraphy style of the Northern School of the Six Dynasties. It has a unique structure, an original style, and is particularly authoritative. Its influence has penetrated deeply into society, and it has become almost the standard book for academics. The characteristics of regular script are that the pen is strong and sharp, the strokes are square and neat, and the structure is cheerful and healthy. His representative regular script inscriptions include the "Jiucheng Palace Liquan Inscription" and the "Huadu Temple Stele".

Yu Shinan's regular script is elegant and elegant, inheriting the legacy of Zen Master Zhiyong and being a direct descendant of the Wang School. Although it originated from the Wei and Jin Dynasties, its soft exterior and strong interior, as well as its deep and serene charm, swept away the cowardice of the calligraphy style of the Wei and Jin Dynasties. Among his representative works in regular script, "Confucius Temple Monument" should be the most representative.

Chu Suiliang's regular script is famous for its sparseness, thinness, and strength. Although he originated from the Youjun army, he is still charming. Its font structure seems to be very unrestrained, but it can skillfully reconcile the quiet style, creating a situation that has never been reached before. His representative regular script works should be the "Preface to the Holy Religion of the Wild Goose Pagoda".

Regular Script

Generally speaking, writing small characters and writing large characters are very different. The principle is: writing large characters must be tight and seamless, while writing small characters must be wide enough. That is to say: writing large characters must be as precise as small characters; while writing small characters must be as cramped as large characters. Therefore, the ancients said, "Writing large characters should be like small characters, and writing small characters should be like large characters." Su Dongpo also discussed calligraphy. There is a saying that goes, "It is difficult for large characters to be dense and seamless, and for small characters to be broad and wide enough." How do you say these words? Because when we usually write large characters, we think that the position (area) is wide and can be used freely. As a result, the font becomes loose and empty. Writing small characters is just the opposite. Because the space is too small, if you worry about not being able to write, you will inevitably have to try your best to shrink. Often, shrinking is too much, which turns into crouching. These are all natural psychological phenomena and are easily violated. Therefore, Mr. Su's words "It's impossible to do anything big or small" are precisely aimed at this kind of expression, and they are also based on experience.

The coordination of the focus and strokes of writing small characters is not much different from that of large characters. As for writing, it's slightly different. The writing style of small characters should be round, graceful, straight, and neat; the writing of large characters should be majestic and thick. When writing large characters, use the reverse edge (hidden edge), and when closing the pen, use the returning edge; when writing small characters, it is not necessary to use the reverse edge, and it is better to use the sharp edge, and when closing the pen, it is better to use the pen or lift the pen. For example, when writing a horizontal line, the starting point of the pen may be pointed and the ending point of the pen will be round; when writing a vertical line, the starting point of the pen may be slightly paused, and the ending point of the pen may be sharp; if the starting point of the pen is drawn, the starting point of the pen may be fat and the ending point of the pen will be thin; if the drawing part is held down, the starting point of the pen may be fat or thin and the ending part of the pen will be thin. Fat, but also slightly arced to the left and right, the strokes should be vivid and emotional; the points should be pointed and round, the pick should be pointed and sharp, the bend should be square on the inside but round on the outside, and the hook should be half curved and half straight. The writing style is flexible and changeable, and cannot be limited. Especially for the whole text, the strokes should be different but coordinated. When written line by line, the words should be well-proportioned but always on the same line. In this way, the Qi will naturally flow through it, looking at it like a string of pearl necklaces, and you will be full of energy.

Appreciation of regular script amp; amp

Small characters were necessary calligraphy for daily use in ancient times. In the past, when taking the imperial examination, most of the people who marked the papers read the characters first and then the articles. If the wording is not good, no matter how good the article is, it will be affected. The number one scholar in the Chao Kao and the Imperial Academy paid special attention to calligraphy. Therefore, all the small characters of the number one scholar and Hanlin scholar are exquisite. Generally speaking, they are also good at writing small prints. Nowadays, hard pens are popular, and not many people use brushes to write small characters. However, using hard pens to write in small regular script copybooks has the obvious effect of getting twice the result with half the effort. Therefore, if you want to write hard pen calligraphy well, you might as well find a good small regular script copybook and practice it. It will definitely lay a solid foundation that will benefit you throughout your life.

There are many small regular script copybooks. Among the ink rubbings handed down from generation to generation, the small regular script of Jin and Tang Dynasties is the most famous. These usually include "Proclamation Post" and "Recommended Ji Zhibiao" by Zhong Yao in the Wei Dynasty, "Le Yi Lun", "Cao E Stele", "Huang Ting Jing" by Wang Xizhi of the Eastern Jin Dynasty, Wang Xianzhi's "Thirteen Lines of Luo Shen Fu", and Tang Zhong Shaojing's "Thirteen Lines of Luo Shen Fu" "Ling Fei Jing" and so on. There are also ink photocopies of small regular script works by Zhao Mengfu of the Yuan Dynasty, Wang Chong of the Ming Dynasty, Zhu Yunming and others, which are also very good examples.

Zhong Yao's calligraphy has a simple style, but none of the handed down works "Declaration Table" and "Ji Zhi Table" are authentic, and most of them were copied by later generations or made on the fly. When you appreciate a good copy of a rubbing, you can imagine its quaint calligraphy style.

Song and Yuan Dynasties

If the Han and Wei Dynasties are the initial stage of regular script, and the Tang Dynasty is the mature stage of regular script, then the Song and Yuan Dynasties are the extended stage of regular script. Regular calligraphy in the Tang Dynasty was strict and rigorous in structure. In the Song and Yuan Dynasties, calligraphers began to pursue the beauty of their works. Some were delicate and handsome, and some were graceful and elegant.

Qing Dynasty

Youzhonghui Regular Script

The regular script of Qing Dynasty is represented by "Ninety-two Methods of Summary of Interframe Structure" written by Shao Ying. Based on Ouyang Xun, one of the four great calligraphers in the early Tang Dynasty, and his "Thirty-Six Methods for Combining Characters" and Li Chun's "Eighty-Four Methods for the Structure of Large Characters" in the Ming Dynasty, he systematically and comprehensively researched and analyzed the rules of Chinese character structure combinations, and summarized nine Twelve methods of writing Chinese character combinations, each with typical examples. "Ninety-Two Methods of Interval Structure Summary" is a relatively complete and practical text, which has a great influence on later generations of calligraphers. It is not only suitable for beginners to learn calligraphy, but also for calligraphy enthusiasts to refer to and appreciate. The Ninety-Two Methods are instructive for beginners to understand the structure of the frame, and they are the enlightenment instructors for beginners. 100 years after the book "Ninety-two Methods of Interval Structure Summary" was written, it was copied and promoted by the famous calligrapher Huang Ziyuan. In the late Qing Dynasty and the early years of the Republic of China, it became a household name, a copy in everyone's hands, and a must-have on anyone's desk. It still has widespread influence today. [1]

5 celebrity editors

There are many masters of regular script, such as Wang Xizhi, Wang Xianzhi, Ou, Yan, Liu, Zhao, etc.

"Sage of Calligraphy" - Wang Xizhi

The most influential calligrapher in the history of calligraphy is undoubtedly Wang Xizhi, a calligrapher and writer of the Eastern Jin Dynasty. The word Yi is less. Langya was born in Linyi and later moved to Shanyin in Kuaiji (now Shaoxing, Zhejiang). He is known as the "Sage of Calligraphy". He is also good at poetry, but his literary talents are mostly hidden by the name of calligraphy and are not valued by the world. He once served as General Youjun, Internal History Officer of Kuaiji, etc., and was known as the King of Youjun in the world. He is known as the "Sage of Calligraphy". Wang Xizhi's running script "Lanting Preface" is known as "the best running script in the world". Commentators say that the writing style is as floating as floating clouds and as powerful as a startling dragon. Wang Xizhi's handed down ink can give you a profound understanding of the four words "brilliant". experience. His work is wonderful and never boring. Chinese calligraphy reached its highest personal peak in his writings. Subsequent generations only developed and improved it to varying degrees in certain aspects: whether it was meaning or method, rhyme or momentum. In theory, there is nothing better.

Ouyang Xun - Oupi

Born in the first year of Yongding (557), Emperor Chenwu of the Southern Dynasty, died in the 15th year of Zhenguan (641), Emperor Taizong of the Tang Dynasty. His courtesy name was Xinben, Tanzhou A native of Linxiang (now Hunan). Famous for

Ouyang Xun's "Jiucheng Palace"

regular script and running script. He is the largest regular calligrapher in the history of calligraphy. His font is called "European style", which is on par with Yan (Zhenqing) style, Liu (Gongquan) style and Zhao (Mengfu) style.

Liu Gongquan——Liu Ti

He was born in the thirteenth year of Dali of Emperor Daizong of Tang Dynasty (778) and died in the sixth year of Xiantong of Yizong (865). The courtesy name is Chengxuan, a native of Huayuan, Jingzhao (now Yaoxian County, Shaanxi Province). A famous regular calligrapher in the Tang Dynasty.

Yan Zhenqing——Yan style

Yan Zhenqing (709-785) was a calligrapher of the Tang Dynasty. The courtesy name is Qingchen, a native of Jingzhao Wannian (now Xi'an, Shaanxi), and his ancestral home is Langya Linyi (now Linyi, Shandong). Shushi is also called Yan Lugong. He is an upright person. An innovator of calligraphy in the Tang Dynasty, he set a banner for calligraphy in the prosperous Tang Dynasty. Yan Zhenqing studied calligraphy since he was a child, and was taught by Zhang Xu himself. He also learned from Cai Yong, Wang Xizhi, Wang Xianzhi, Chu Suiliang and others, integrated them and developed them to form a unique style. His regular script has a square and dense structure, light horizontal strokes and heavy vertical strokes, strong and round strokes, and a solemn and vigorous momentum, so he is known as "Yan Ti".

His cursive writing is full of conciseness and simplicity.

Zhao Mengfu - Zhao Ti

Zhao Mengfu (1254-1322), also known as Ziang, also known as Xuesong Taoist, also known as Crystal Palace Taoist, was born in Huzhou (Wuxing, Zhejiang). When he reached the Hanlin Academy, he accepted the decree and was honored.

Liu Gongquan's "Shen Ce Army Stele" [3]

Doctor, he was granted the title of Duke of Wei, with the posthumous title of Wenmin. He is the author of "Songxue Zhaiji". Zhao Mengfu was an influential calligrapher in the early Yuan Dynasty. "History of the Yuan Dynasty" says, "Meng Fu's seal scripts, seal scripts, and official scripts are all the best in ancient and modern times, so he is famous all over the world for his book." High praise. According to Song Lian of the Ming Dynasty, Zhao's calligraphy learned from Siling (that is, Emperor Gaozong Zhao Gou of the Song Dynasty) in his early years, who "enlightened the eight methods wonderfully, and paid attention to the ancient elegance". . In addition, he also touched the Dingding Monument of the Yuan and Wei dynasties as well as Yu Shinan, Chu Suiliang and others of the Tang Dynasty, and gathered the great achievements of the previous generations. As Wen Jia said: "Wei Gong imitated all the excellent calligraphers of the ancients." Therefore, Zhao's success in calligraphy is inseparable from his ability to absorb the strengths of others.

6 The four major regular script editors

The four most famous regular script calligraphers are:

Tang Ouyang Xun (European style) [4]

Tang Yan Zhenqing (Yan style) [4]

Tang Liu Gongquan (Liu style) [4]

Yuan Zhao Mengfu (Zhao style) [4]

一This is: Calligraphy was at its peak in the Tang Dynasty. Anyone who came to regular script would be called Yu, Ou, Chu, or Yan. Yan Zhenqing is one of the most innovative calligraphers. Yan Zhenqing (709-785), whose courtesy name was Qingchen, was born in Jingzhao Wannian (now Xi'an, Shaanxi Province). He came from a distinguished family and was the fifth-generation grandson of the famous scholar Yan Shigu. Yan Zhenqing was an upright and upright person, and was known in the official circles as a righteous and righteous man. He was a veteran of four dynasties, but he paid no attention to the ups and downs of his officialdom. Later, he was ordered to recruit Li Xilie, the rebellious envoy of Huaixi Jiedu, who was killed by Li.

Yan Zhenqing’s calligraphy was learned at home, but the person who inspired him to change his calligraphy was Zhang Xu of Wujun. Because he was able to recruit from hundreds of schools and choose freely, the large number of letters he left behind is a testament to his skill. Every time historian Fan Wenlan mentioned Tang books in his writings, he said that "Yan Zhenqing of the prosperous Tang Dynasty was the creator of the new calligraphy style of the Tang Dynasty." Yan's regular script reflects the style of a prosperous age, with majestic characters; and his cursive style made Mi Fu of the Song Dynasty also admire this calligraphy. The reason is that those calligraphy letters were often written quickly in a state of extreme sadness and indignation. Readers can learn from this article Get a taste of it. Emotion melts into art, and artistry creates soul. All excellent arts in history do not violate this principle.

Yan Zhenqing's "Book of Complaint" [5]

Yan Zhenqing is a giant in the calligraphy world. For thousands of years, only Yan Lugong could stand up to the calligraphy sage Wang Xizhi and stride forward in the world of calligraphy. In the Tang Dynasty, Yan Zhenqing was regarded as the crown prince, while in the Song Dynasty, Yan's calligraphy was also regarded as the great book. Since then, Yan Zhenqing’s book soul has formed a huge force, and has accumulated into an important part of the Chinese nation’s book soul. "New Book of Tang·Biography of Yan Zhenqing" praises: "Although he is 1,500 years old, his heroic words are like the frost and the scorching sun, which can be feared and admired!" The heroic life of the sun and the moon is the constant source of inspiration for his wonderful calligraphy skills. Drain the source.

The second is: Liu Gongquan, in the thirteenth year of the Dali calendar of Emperor Daizong of the Tang Dynasty (778 AD) - the sixth year of Xiantong, Yizong of the Tang Dynasty (865 AD, aged 88 years. Jingzhao Huayuan (today's Yaoxian County, Shaanxi)) He was the Prince's Shaoshi in the palace, and he was known as "Liu Shaoshi" in his later life. He first studied Wang Xizhi and studied the calligraphy of Ouyang Xun and Yan Zhenqing, and then became his own regular script writer. He was slightly thinner, so he was known as "Yan Jin Liu Gu". Mu Zong asked Liu Gongquan how to use the pen, and Gongquan replied: "Use the pen with the heart, and the heart will be straight, and the pen will be straight." Mu Gong changed his appearance, just like his advice on writing. . Zhu Changwen of the Song Dynasty said in "Mo Chi Bian": "Gongquan's official script and regular script are the most exquisite, and the grass is not as good as the grass. The method is based on the appearance, and adds strength and richness, and comes from the famous master." He first learned Wang Xizhi's brushwork. After that, he read all over modern calligraphy, so he tried his best to change his military style, learned from Yan Zhenqing, and incorporated his own new ideas, so that his calligraphy avoided the trend of being thin horizontally and thick vertically, and was balanced, thin and hard, following the decisive style of the Wei stele, and the stippling was crisp and straight. The bones are strong and the structure is tight. Many calligraphers in later generations took Liu Zi as a model.

He became a Jinshi at the age of twenty-nine and served as a low-level official in the local area. Later, Emperor Mu Zong of the Tang Dynasty accidentally saw his handwriting. As soon as he became a holy calligrapher, he was summoned to Chang'an by the court. At that time, Liu Gongquan is in his forties. He is both strong-minded and meticulous as a person, and similarly, his words also reveal this part of his character. Because of this, his reputation and status in Chang'an increased, and the princes and nobles spent huge sums of money to hire him.

After the heyday of the Mid-Tang Dynasty, the calligraphy of the Late Tang Dynasty flourished and then declined. Although Liu Gongquan was temporarily revived, he was still slightly inferior to Yan Shu. Calligraphy flourished during the Tang Dynasty, but has since declined. Liu Gongquan's regular script incorporates Ouyang Xun's brushwork. He often intersperses some strokes closely, making the wide areas particularly open. The strokes are thin and vigorous, and the edges and corners are sharp. Although the strokes were written by Yan Zhenqing, they are different from Yan Zhenqing's vigorous and broad strokes, making him particularly heroic. people.

Liu Gongquan died at the age of eighty. He served seven emperors in his first year, and finally died in office as the prince and young master.

He has many handwritten works handed down from generation to generation, among which the most influential ones include "Mysterious Tower", "Shence Military Monument", "Diamond Sutra", etc.

1. "Shence Army Stele": regular script, established in the third year of Huichang in the Tang Dynasty (843 AD). It is one of Liu Gongquan's masterpieces. It has a more distinctive calligraphy style than the well-known "Mysterious Tower" in later generations. The structure layout is smooth and even, with the left side tight and the right side relaxed. It is also a better example for writing.

2. "Liu Shu Diamond Sutra": regular script, engraved in April, Changqinggang Year, Tang Dynasty (AD 824). The original stone was destroyed in the Song Dynasty. An only copy of Tang rubbings from a stone chamber in Dunhuang, Gansu has been handed down from generation to generation without any damage. It is now in the Paris Museum in France. Critics believe that the Diamond Sutra in regular script has the advantages of Zhong (Yao), Wang (Xizhi), Ou (Yang Xun), Yu (Shinan), Chu (Suiliang), and Lu (Dongzhi), and is of high artistic quality. value.

Zhao Mengfu's "Luo Shen Fu" [6]

3. "Mysterious Tower Stele": regular script. It was erected in the first February of the first year of Huichang in the Tang Dynasty (AD 841). The original stele now exists in the Stele Forest in Xi'an, Shaanxi. This monument is the most famous among the calligraphy handed down from generation to generation. It is one of the most influential regular script models in history.

7 Learn to edit

Chinese regular script is more suitable for writing large characters as small characters, and small characters as large characters. (Chen Qian's "Fu Xuan Ye Lu")

Linxi regular script composition

Composition is an important part of the formal beauty of calligraphy art. The pointillism is the beauty of lines, the frame structure is the beauty of local composition, and the composition is the beauty of overall composition. The rules of Zhao Ti regular script can be studied and grasped from two aspects.

Youzhonghui regular script

First, it is neat and uniform. The overall sense of regular script is first of all neatness. The arrangement of characters is equidistant between characters and lines, giving people a stable and solemn visual effect. This form is most suitable for strict regular script. The different shapes of the width and length of the knots produce local uneven changes, so that the regular script, which is neat and uniform but not rigid, will not suffer from disharmony or monotony.

Second, unity in diversity. The biggest feature of Zhao Ti regular script is that it has elements of running script. The writing style is changeable, and the characters are given shapes without deliberate arrangement. It has a very harmonious and unified relationship among diversity and change. The feeling is that there is movement in the silence, and the emotion is in the words. The first thing that impresses people about a piece of calligraphy art is its overall effect, and the whole is composed of countless parts. Therefore, when arranging the composition, you should not ignore the details of each character, such as the shape, length, change of straightening, weight and rhythm of the characters, etc., all need to be carefully considered, designed rigorously, and passed through persistently. After a long period of practice, I can freely process the composition, show a kind of design beauty that seems to have no design, and reach a higher state of calligraphy art.

The regular script composition is not complicated, and its main forms include nave, couplets, banners, horizontal drapes, fans, etc. The layout of regular script, the character spacing and line spacing are basically equal in most cases, but there are also cases where the line spacing is greater than the character spacing; they are always written vertically from right to left, and those with a small number of characters horizontally are still written from right to left; modern Chinese horizontal writing is From left to right, this method can also be used under special circumstances, but vertical writing is still better from right to left.

Notes on writing

Song Cao, a calligrapher of the Qing Dynasty (Calligraphy Essay: On Regular Script), said: "To make regular script, you must first make the inner spaces of the characters clear and clear, so as to get the shape of the characters, and then use the method to make them fit naturally. However, The size, complexity, length, width, and width should not be made straight like an operator, but they can be based on their essence and form, not limited to the strokes, but the meaning of the strokes can be concentrated, and the characters can be shaped. The movements are unique and extremely natural, which is why they still need to be relaxed and relaxed; the bones must be contained in the middle, and the tendons must not be exposed, and there must be no shrinkage, so that the front is hidden. It makes people think beyond the characters. If you write it in large regular script, the structure should be dense, otherwise it will be loose and dull. If it is too dense, it will be too complicated. If you write it in small regular script, it will be easy to be cramped. If you have large fonts, it will be cramped. If the pen is held tightly and the wrist movement is not smooth, it will be blocked from left to right; if the pen is suspended in the empty palm and turned to activate itself, it will only be able to draw the ears, which is not calligraphy. .

In short, if you are familiar with the method, it will be natural and wonderful. . If we talk about its regularity, he does not need to take it if it is written by Fa Chui, Wang and Yu Shu (Praise to Oriental Painting), (Le Yi Lun), (Cao E Stele), (Luo Shen Fu), and "Bie Xie Lun Preface". ”

Note: The discussion is precise and practical. [7]

Font pen calligraphy

Regular script is the main style of Chinese characters [8]. Regular script, It is a model and a standard font. Pen regular script has the following characteristics:

Pay attention to the use of pens

Appreciate regular script; amp

The strokes of fountain pen regular script are improved. Different pen methods produce different shapes and textures, and different lines require different pen methods to reflect the shape of regular script. Small, the thickness of the lines does not change much. If you are not careful when writing, the strokes will not meet the requirements, and the strokes will appear weak, stiff and rigid. Therefore, you must undergo strict training to master the method of using the pen. p>

Clear strokes

The start and end of each stroke in fountain pen regular script must be clearly stated, neat and standard, clean and neat, and cannot be scrawled or stuck together, but there must be some space between strokes. The internal echo relationship makes the strokes: orderly, clear, solid and powerful, yet continuous, straight but not stiff, curved but not weak, smooth and natural, very beautiful!

The structure of the book is square and neat.

The structure of the book emphasizes the balanced distribution of strokes and radicals, a stable center of gravity, appropriate proportions, correct fonts, and standardized characters. The lines are neat. Although there are some changes in form, they are still neat and tidy on the whole.

Appreciation of regular script amp; amp

It is for the above reasons that many of them have appeared in the past. Calligraphers all advocate taking regular script as the first step in learning calligraphy. The current nine-year compulsory education primary school Chinese syllabus requires students to learn to write regular script in primary school to lay a solid foundation and create conditions for writing regular script in middle school. Practice has proved that only through systematic regular script practice can one understand the characteristics and requirements of the strokes and structure of Chinese characters[8], master the combination rules of Chinese characters, lay a foundation for learning to write regular script, and thus develop a standard, smooth and natural hand. of running script and cursive script.

When practicing regular script, you should work hard on both strokes and structure. Practicing strokes mainly solves the problem of using strokes, with the purpose of producing qualified "parts"; practicing structure, mainly solves the problem of the combination of strokes and radicals, with the purpose of learning structural methods and mastering the rules of structure, so as to achieve the goal of combining characters. Write correct, neat and beautiful requirements.