In the Sui Dynasty, traditional regular script was mainly used, supplemented by traditional running script and cursive script. The calligraphy of the Sui Dynasty is superior to that of the Southern and Northern Dynasties, and that of the Tang Dynasty. The style of calligraphy is skillful and comprehensive, and does not deviate from the rules. It has the splendor and beauty of the calligraphy of the Eastern Jin and Southern Dynasties, and the squareness and vigor of the calligraphy of the Northern Dynasties. The style and scale of the great masters of the early Tang Dynasty had taken shape here, and the calligraphy style of the two kings began to prevail. Famous calligraphers include Ding Daohu, Shi Ling and Zhiyong. The ink inscriptions on Dharma books include thousand-character texts and scriptures. The inscriptions on the Longzang Temple Stele, Qifa Temple Stele, and Dong Meirenzhi show the calligraphy style of this period.
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 is mature and calligraphers emerge in large numbers. In terms of regular script, Yu Shinan, Ouyang Xun, and Chu Suiliang in the early Tang Dynasty, Yan Zhenqing in the middle Tang Dynasty, and Liu Gongquan in the late Tang Dynasty all had their regular script works 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 use large characters. The big characters use Yan as the method, the middle script uses Ou as the method. Once the middle script is familiar, then it is condensed into small regular script, and Zhong Wang is used as the method. 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.
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. His most representative works in regular script are the Confucius Temple Monument.
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. Among its regular script masterpieces, the Preface to the Holy Religion of the Wild Goose Pagoda is the most representative.
Xiaokai, as the name suggests, is the smallest form of regular script. It was founded by Zhong Yao in the Wei Dynasty of the Three Kingdoms. He was originally the most outstanding authority in official script. The style of regular script he wrote was also derived from Han official script, with a vague style. It's like a flying giant playing in the sea, 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.
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 should be as precise as small characters; while writing small characters should be as cramped as large characters. Therefore, the ancients said that writing large characters should be like small characters, and writing small characters should be like large characters. In Su Dongpo's book theory, it is difficult for large characters to be dense and seamless, while for small characters it is difficult to express words that are broad and wide enough. How to say the above words? Because when we usually write big characters, we think that the position is broad and we can use it as we please. 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, the sentence "It's difficult for Mr. Su to be big or small" is precisely aimed at this kind of expression, and it is also an experienced saying.
The focus of writing small characters and the coordination of strokes are not much different from those 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 back edge, and when closing the pen, use the back edge; when writing small characters, it is not necessary to use the back edge, it is better to use the sharp edge, and when closing the pen, it is better to use the pen stroke or lift the pen
For example, when writing a horizontal line, start the pen When writing vertically, the pen may be slightly paused when the pen is raised, and when the pen is closed, the pen may be pointed; when the pen is tilted, the pen may be fat when the pen is raised and thin when it is closed; when the pen is closed, the pen may be raised or thin when it is closed, and at the same time, it must be pointed. A slight arc from left to right, the strokes are vivid and emotional; the points should be pointed and rounded, the pick should be pointed and sharp, the curve 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 and look at it like a string of pearl necklaces, with a high spirit.
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 characters. 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 a significant 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 surely 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 Wei Zhongyao's Declaration and Recommendation Ji Zhibiao, Eastern Jin Dynasty Wang Xizhi's Le Yi on Cao E's Stele Huang Ting Jing Wang Xianzhi's Thirteen Lines of Luo Shen Fu, Tang Zhong Shao Jing's Ling Fei Jing, etc. There are also ink photocopies of small regular script works by Zhao Meng_ of the Yuan Dynasty, Wang Chong of the Ming Dynasty, Zhu Yunming, etc. are also very good examples