With its neat strokes, rigorous rules, stable structure and neat organization, regular script constitutes a model of Chinese calligraphy, and has established a cultural norm that uses cultural symbols created by people as aesthetic standards.
Zhong Yao's regular script writings handed down from ancient times include "He Jie Biao", "Recommended Ji Zhi Biao", "Declaration Table", etc., which are all memorials he wrote to the imperial court. Seeing Zhong Yao's "Three Watches", from what angle should we appreciate it during the New Year?
The first is the technique of using the pen.
The second is the shelf structure of the text.
The third is the coordination and proportionality of the rules and regulations.
The uniqueness of Zhong Yao's calligraphy is difficult to express in words. The interesting charm hidden in the pen and ink is quaint and elegant. Ancient elegance not only refers to a tree environment that is free from the worldly world or untainted by the worldly world, but also contains the purpose of departing from the past.
However, due to the limitations of historical conditions, Zhong Yao could not completely eliminate the official meaning in regular script. The body shape is slightly flat, and the strokes slightly show the wave and interest of official script. The remaining official meaning in Zhong Yao's regular script is the main basis for later generations to praise Zhong's script for its elegance.
The regular scripts of Yan Zhenqing and Liu Gongquan standardized and guided the writing of Chinese characters, establishing a model with rules to follow and models to follow. In terms of brushwork, Yan Zhenqing absorbed the compilation and official brushwork techniques, and created a rich "vein" through the rich and perceptible line brushwork techniques such as thin horizontal strokes and thick vertical strokes, light strokes and heavy strokes, inner squares and outer circles, and broken strokes in the process of stipple writing. Taste".
Yan Zhenqing’s regular script uses lifting buttons to the maximum extent, and the ends and nodes are exaggerated and obvious with pens, making the most typical writing techniques of regular script in the Tang Dynasty: starting the brush against the front, running the center, and closing the brush to form the most distinctive style. Traceable rules.
Secondly, in terms of structure and form, Yan Zhenqing emphasized the image of "uprightness", changing the situation of most calligraphers of the previous generation who were tight on the left and loose on the right, low on the left and high on the right, and the fonts were slightly sideways. It has the characteristics of momentum, roundness and solemnity. The strokes are straight and symmetrical, and every word shows a positive image.
Moreover, the layout of the whole article is uneven and dense, and the words are full of momentum. This style actually reflects the spirit of the Tang Dynasty. It is a natural expression of his own character and character, marking the pursuit and shaping of the relationship between calligraphy and life.
Liu Gongquan’s regular scripts strive to transform Yan Zhenqing’s rich formal forms into pure and less changeable regular scripts, strengthening the characteristics of “law”. From the perspective of strokes, the "full muscles" are changed into "hard bones", forming the stroke characteristics of complete strokes and hard texture. Liu Gongquan relies on clear and prominent "edges and corners".
From the perspective of structure, change "wide" to "tight" to form a structure style that is tight at the top and loose at the bottom, cohesive and outward. Not only does the method of composing the characters tighten the middle palace and leave the surrounding spaces sparse, but the lines are also actively matched with the structure to make the composition of the glyph space more rigorous. It can be seen from the "Mysterious Tower Stele" that Liu Gongquan inherited the rules of Tang Kai script, but infused a new air of purity and peace between density and density.
On the basis of inheriting his predecessors, Kang Youwei made a comprehensive and detailed evaluation of the artistic style of inscriptions and calligraphy of the Wei, Jin, Southern and Northern Dynasties. He believed that the inscriptions of the Wei, Jin, Southern and Northern Dynasties had "ten beauties": "One is courage. Strong, the second is the vigorous atmosphere, the third is the jump of the brushwork, the fourth is the bold and thick stipples, the fifth is the strange mood, the sixth is the flying spirit, the seventh is the full interest, the eighth is the insight of the bones, the ninth is the natural structure, and the tenth "The flesh and blood are rich."
Many lines in the regular script of Wei stele are not easy to make with a brush. It is obvious that the craftsman showed the sharpness, crispness and hardness of the knife during the carving process.
Many of the regular scripts on Wei stele were produced by people at the bottom of society, whose cultural level was not high, and the writers were not necessarily famous calligraphers. Moreover, the craftsmen responsible for carving stones had more opportunities to change the fonts according to their own wishes, change the brushwork to knife skills, and even change the original writing glyphs. Occasionally there were typos and typos, but they created a style that was different from literati writing. Calligraphy aesthetics.