1. Ouyang Xun
Ouyang Xun’s calligraphy combines the characteristics of Han Li and Jin Dynasty regular scripts, and also incorporates the six dynasties’ inscriptions. It can be 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 spaces 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.
Ouyang Xun's calligraphy is square and straight, with a slight official style, strong and meticulous. The backbone is contained, neither too thin nor too plump. Each stroke is one point too long, one point too short, and one point too short. The weight is appropriate, the length is appropriate, and just right.
The use of European characters also pays attention to the strength of the middle part of the strokes. Some horizontal strokes look full in the middle, giving a sense of "center and solidity"; the main strokes of some characters extend outwards, which makes the middle palace more compact. Especially the vertical paintings on the right half often extend upward in an exaggerated manner, showing his superhuman courage. These are the unique features of European calligraphy pens.
2. Yan Zhenqing
Yan Zhenqing’s calligraphy is known as Yan style and has his unique style and brushwork. He left many inscriptions, and later calligraphers believe that traces of the "round brush" can be found in some of his inscriptions, which are different from the "square brush" of other calligraphers.
Yan Zhenqing is regarded as the pioneer of calligraphy using round pens. Both he and Wang Xizhi, who used the square brush, had a profound and far-reaching influence on later generations.
3. Liu Gongquan
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 he uses The pen was written by Yan Zhenqing, and unlike Yan Zhenqing's vigorous and broad-mindedness, it is particularly heroic.
4. Zhao Mengfu
Zhao’s success in calligraphy is inseparable from his ability to absorb the strengths of others. What is particularly valuable is that most calligraphers in the Song and Yuan Dynasties were only good at running and cursive styles, but Zhao Mengfu was able to master all styles. Various styles of calligraphy are unparalleled in ancient and modern times. Many of his calligraphy works on Buddhism and Taoism are scattered in famous mountains. Many later generations learned Zhao Mengfu's calligraphy, and Zhao Mengfu's calligraphy was very popular in Korea and Japan.
Extended information
The main works of the four masters of regular script are:
1. "Jiucheng Palace Liquan Ming" is one of Ouyang Xun's masterpieces. The inscription was written by Wei Zheng and records the discovery of a gushing spring by Emperor Taizong of the Tang Dynasty when he was vacationing in Jiucheng Palace. Ouyang Xun received the imperial edict.
2. The regular script works of Yan Zhenqing that are valued by future generations include "Duobao Pagoda", "Oriental Painting Praise Stele", "Magu Immortal Altar", "Guo Family Temple Stele", "Yan Qin Li Stele", etc.
3. Liu Gongquan has many handwritten writings handed down from generation to generation, among which the most influential ones include "Mysterious Pagoda Stele", "Shence Army Stele" and "Diamond Sutra".
4. There are also excellent works in regular script written by Zhao Mengfu, such as "Sanmen Ji", which has a broad, profound and stable structure, smooth and rounded writing, and is most suitable for copybooks. Most of Zhao's handed down works are written in regular script, and most of them are written with exquisite penmanship and precise wording. For example, "Chibi Fu" can be regarded as a classic.
Baidu Encyclopedia-Four Masters of Regular Script