Regular script, I think of the famous "four masters of regular script", including Ou Yangxun's danger, Yan Zhenqing's modesty, Liu Gongquan's strength and Zhao Ziang's essence, each with its own characteristics and extraordinary strength.
The Tang Dynasty was the peak of the development of regular script in the history of calligraphy, during which countless regular script masters appeared. Except Ou Yangxun, Yan Zhenqing and others we are familiar with, Yu Shinan's regular script is different from that of Tang Kai, who is famous for his statutes in the traditional sense. In addition to meticulous stippling, it also shows relaxation and elegance beyond rigor. As the Song Dynasty poet Huang Tingjian said in his poem, "Where can I buy a thousand taels of gold for the Zhenguan carving in Yu Shu Temple?"
Wang Xianzhi's Ode to Luoshen is exquisite and generous, quite like a graceful girl. In the Ming Dynasty, An Shifeng once said in "The Joy of Maureen": "The brushwork is vigorous, the posture is sparse, clean and unrestrained." In just a few words, the subtlety of the thirteen lines in Wang Xianzhi's Ode to Luoshen is vividly displayed.