Lowercase letters are relatively small regular script, capital letters are relatively large regular script, and lowercase letters are middle letters, so there is little difference between strokes.
Classic works in block letters include Fu of the Great Tang Dynasty, Dong Fangshuo Monument, Many Pagodas, etc. The strokes are cadence and changeable.
The strokes of the middle letters are relatively straight. In ancient inscriptions, middle letters are common, such as Jiuchenggong, Yao Gonggong's epitaph, Educational Legacy, Wu Xingfu, Miao Yan Temple Monument and so on.
Lowercase is easier than the first two. Generally speaking, in the imperial examinations, small letters are widely used when copying classics, including Wang Xizhi's Lao Zi, Fu Qin, Jing Ke, Huang Tingjing and Zhao Mengfu's Tao Te Ching.
Regular script evolved from official script, which is a very common handwritten font style in China's calligraphy. The four regular script are Ou Yangxun, Yan Zhenqing, Liu Gongquan and Zhao Mengfu.
Compared with other calligraphy, regular script is more rigorous in structure and neat in font rules, which is a model in font. Up to now, regular script was very popular in feudal society from the Southern and Northern Dynasties to the Jin and Tang Dynasties.
Extended data
Composition is an important part of the formal beauty of calligraphy. Stippling is the beauty of lines, frame structure is the beauty of local composition, and composition is the beauty of overall composition. The laws of Zhao Ti's regular script can be studied and grasped from two aspects.
First, uniformity. The overall sense of regular script, first of all, is neat. The arrangement of words and lines is equidistant, giving people a steady and solemn visual effect. This form is most suitable for regular script in a strict sense. If the shapes with different knot widths and lengths change locally, there will be no disharmony or monotony in regular script that is uniform but not stiff.
Second, diversity and unity. The biggest feature of Zhao Ti's regular script is that it contains elements of running script, and its brushwork is changeable, taking characters as shapes, without deliberate arrangement, and it has a very harmonious and unified relationship in diversity and changeability. It gives people the feeling that there is movement in silence and affection in words. A calligraphy work is first infected with its overall effect, which is composed of countless parts.