The famous block script calligraphers of the Tang Dynasty include Yu Shinan, Ouyang Xun, Chu Suiliang, Yan Zhenqing and Liu Gongquan. \r\n Yu Shinan's calligraphy is an important part of regular script's perfection. The most famous work is the "Confucius Temple Monument". Yu Shinan learned calligraphy from Wang Xizhi's seventh grandson when he was young. He was personally taught by the famous calligrapher Monk Zhiyong, and he mastered the "two kings" and Zhiyong's brushwork. Yu Shinan was a quiet man with few desires, strong will and upright opinions. He was highly valued by Emperor Taizong of Tang Dynasty. Taizong of the Tang Dynasty called his virtue, loyalty, erudition, literature and calligraphy the five virtues. His calligraphy is smooth and powerful, soft on the outside but strong on the inside. Commentators think that it is like wearing a skirt with fluttering skirts and gaiting a straight body, which is an inviolable color. His calligraphy was taught by Zhiyong, inherited the tradition of the two kings, and achieved very good results. He can be said to be the work that succeeded the Wei and Jin Dynasties and ushered in the prosperity of the Tang Dynasty. Together with Ouyang Xun, Chu Suiliang, and Xue Ji, he was known as the four great masters of the early Tang Dynasty. Calligrapher. His regular script pen is round and square, soft on the outside and strong on the inside, without any ornamentation. \r\n Ouyang Xun, Dr. Taichang, an official in the Sui Dynasty, was granted the title of Prince Shugengling in the Tang Dynasty, also known as "Ouyang Shugeng". In the Sui Dynasty, Ouyang Xun's calligraphy enjoyed a high reputation. In the Tang Dynasty, Ouyang Xun, who was nearly seventy years old, was still teaching calligraphy at the "Hongwen Museum". Ouyang Xun's eight styles of calligraphy are exquisite, his regular calligraphy is rigorous, and his writing power is unparalleled in the world. He is called the best regular calligraphy among the Tang Dynasty people. He and Yu Shinan were both famous for their calligraphy in the early Tang Dynasty, and they were both called "Ou Yu". His most famous work is "Jiucheng Palace Liquan Inscription". Ouyang Xun's calligraphy combines the characteristics of Han Li and Jin Dynasty regular scripts, and also incorporates the six dynasty inscriptions. It is said that he draws on the strengths of each calligraphy school. The main characteristics of Ouyang Xun's calligraphy style are rigorous and neat, upright and vigorous. Although the font is slightly longer, the intervals are white, neat and rigorous, the middle palace is tight, and the main stroke is elongated, which makes it appear vigorous and unrestrained, sparse and dense, all sides are well prepared, eight sides are exquisite, the charm is vivid and just right. The combination of stipples and the structural arrangement are flat in the middle but steep and strong. Most of the fonts expand to the right, but the center of gravity is still very stable, without any sense of tilt or tilt, and it has the interest of combining danger with uprightness. \r\n Chu Suiliang's calligraphy first learned from Yu Shinan. In his later years, he learned from Zhong Yao and Wang Xizhi, integrating Han Li calligraphy. It is rich, smooth, varied, and unique. Together with Ouyang Xun, Yu Shinan and Xue Ji, they are known as the four great calligraphers of the early Tang Dynasty. According to legend, after the death of Yu Shinan, Emperor Taizong of the Tang Dynasty lamented that no one could discuss the book. Wei Zheng praised: "Chu Suiliang's penmanship is as vigorous as Wang Yishao's style." Wei Zheng believed that he had a deep understanding of the character "王" and the ability to distinguish the authenticity of the character "王". "Book Review of the Tang Dynasty" said that his calligraphy is: "Gold in the words, jade in the lines, gentle in rules, and beautiful in many ways." The "Preface to the Holy Religion of the Wild Goose Pagoda" written by him is the most unique. In this stele, he integrated Yu and Ou Fa into one, both of which were natural. From the perspective of charm, he directly catches up with Wang Yishao, but his brushwork, lettering, roundness, thinness and strength are all Chu's. And I think his "Big Character Yin Fu Jing" better reflects the subtlety of his writing. \r\n Yan Zhenqing first studied under Chu Suiliang, and later under Zhang Xu. He also absorbed the characteristics of the four schools of thought in the early Tang Dynasty, and incorporated the calligraphy styles of seal script and Northern Wei Dynasty into his own style. It was contrary to the style of calligraphy in the early Tang Dynasty, turning thin and hard into plump and powerful, with a strong structure. Kuanbo is magnificent, his bones are strong and his spirit is awe-inspiring, and he is known as "Yan Ti". Yan style established his immortal status in regular script for thousands of years. Yan Zhenqing is one of the most influential calligraphy masters in the history of Chinese calligraphy. His "Yan Ti" is known as "Yan Liu" together with Liu Gongquan, and he is known as "Yan Jin Liu Gu". The most widely circulated ones are: "Duobao Pagoda Stele" and "Yan Qinli Stele". Yan Zhenqing's regular script has a solemn and majestic style. He uses a light horizontal stroke and a heavy vertical stroke, and the writing force is strong and thick; the upper part of the structure is dense and square, and the middle part is round. . The vertical strokes are slightly curved in the middle, with softness and elasticity in the middle. The strokes are heavy and strong enough in the center, which adds to his grand, round and rich beauty. \r\n The development of Chinese regular script can be said to have reached its peak in the Tang Dynasty, and its achievements were represented by Yan Zhenqing. The later calligrapher Liu Gongquan of the Tang Dynasty was also influenced by Yan Zhenqing, and was also called Yan Liu in later generations. Yan Zhenqing's calligraphy is full of strength and graceful, earning him the title of "Yan Jin Liu Gu". Yan Zhenqing's cursive writing has the characteristics of being both concise and vigorous, as well as ups and downs. His writing style is vigorous, skillful and natural, and has the flavor of seal script, but his cursive writing still maintains the standards of Wei and Jin Dynasties. His running script "Manuscript for Nephew Sacrifice" is known as the second running script in the world. \r\nLiu Gongquan was the last great calligrapher of the Tang Dynasty and a native of Yaoxian County, Shaanxi Province. He inherited the calligraphy structure of his predecessors and created his own so-called "Liu style", which served as a model for generations to come until he entered the printed era. His calligraphy has taken many incarnations and spread among the people and even abroad.
His calligraphy has always been valued in the three dynasties of Muzong, Jingzong and Wenzong of Tang Dynasty. He lived in officialdom and served as a scribe, grew up in the ban, and had a prosperous official career. Emperor Wenzong called his calligraphy "When King Zhong is resurrected, there is nothing more to add to it": Emperor Mu Zong asked him how to best use his pen, and he said: "Use your pen with your heart in mind, and if your heart is upright, your pen will be correct." This famous saying was passed down to later generations. It is a good story about "writing admonishment". "Liu Ti" is as famous as "Yan Ti", and is also called "Yan Jin Liu Gu". \r\n Liu Gongquan's calligraphy was famous in the Tang Dynasty, and there was a saying among the people that "one character of Liu is worth a thousand pieces of gold". His calligraphy is strong, rigorous and meticulous. In terms of character characteristics, it is famous for its thinness and strength. The regular script written in it has a strong and charming body and strong bones and legs. Running script and regular script are the most exquisite. Because of the unique characteristics of his works, Liu Gongquan's calligraphy is known as "Liu style". "Mysterious Tower Stele" is his masterpiece, but I think "Shen Ce Jun Stele" is even better.