Regular script reached its peak in the Tang Dynasty, which is a historical necessity. As far as the evolution of regular script is concerned, the late Han Dynasty was the period of creation, the Wei, Jin and Six Dynasties was the period of inheritance and development, and the Sui and Tang Dynasties began to merge on the basis of their predecessors. This is the law and requirement of the development of regular script itself. Regular script, fa ye, and, refer to the calligraphy style of square style and less waves, which comes from the founder of ancient Li, the beauty of eight points and the simplicity. Seal script began to "change from official to official" in Qin Dynasty, and regular script appeared at the same time when it matured in Western Han Dynasty. "At the end of the Western Han Dynasty, Li's stone inscriptions were mixed with official books" (Xuanhe). During the Three Kingdoms period, Zhong Ci inherited the calligraphy characteristics of Fenshu and became a family of its own. His book He Jie Biao is the originator of official books. In the Wei and Jin Dynasties, the two kings and their sons established their own model laws, which were widely circulated in later generations. During the Wei, Jin, Southern and Northern Dynasties, Wei Bei was the best. Sui dynasty regular script is a link between the preceding and the following. Several regular scripts in the early Tang Dynasty were directly inherited by Zhiyong and adopted from the Six Dynasties.
By the eve of the Tang Dynasty, regular script had a good foundation. Calligraphers before the Tang Dynasty explored and created regular script, and achieved certain results, which is the premise of the creation and improvement of regular script writers in the Tang Dynasty. The influence of Zhong You, Erwang, Zhiyong and others on regular script in Tang Dynasty is obvious. During the Three Kingdoms period, Gulangbei was the pioneer of changing from official script to official script, and official script was the earliest. The monument of Zhang Menglong in the Northern Wei Dynasty has the beauty of all the monuments at that time, and is the forerunner of Ou Yangxun and Yu Shinan. The best monument in Sui Dynasty, Longzang Temple Monument, is an integrated monument of the Six Dynasties, handed down from Europe, Henan, Chu, Xue and Lu (Cambodia). Ou Yangxun's Jiucheng Palace and Huadu Temple Monument exude a strong wind, which is mainly influenced by northern books. These two kinds of steles are strictly disciplined and developed by absorbing the characteristics of calligraphy in the Sui Dynasty. Yu Shinan completely inherited the calligraphy art of the main school, and his book "Confucius Temple Monument", which is mainly based on brushwork, can represent the artistic characteristics of the regular script of the Wang school in the Tang Dynasty, and likes to develop Wang calligraphy creatively and independently, which can be described as the work of ancestors. Xue Ji was the greatest calligrapher who studied Chu in the Tang Dynasty. In the early Tang Dynasty, four great writers, Ou, Yu, Chu and Xue, completed the final form of regular script after Wei, Jin, Southern and Northern Dynasties. In the inevitable kingdom of regular script, the calligraphers in the middle Tang Dynasty, represented by Yan Zhenqing, pursued the free realm of will and created a new style of calligraphy. The works of Yan Zhenqing, Liu Gongquan, Li Yong and others with innovative spirit and outstanding achievements are not difficult to find their origins in Weibei, Qibei and Zhoubei. In Yan Shu, we can see the traces of the inscription on the crane by two kings and Liang and the Manjusri Bodhisattva Prajna Sutra in the Northern Qi Dynasty. "The efforts of several generations have opened up their own living space and accumulated rich experience and heritage. With a little construction, they can live and work in peace and contentment "(for the historical burden and the choice of the times, see the 27th series of calligraphy research). Jin Shu occupied Gaofu Jin Yao, and Tang Kai advanced in a narrow and dangerous area, reaching its peak. Judging from the history of regular script, Sui and Tang Dynasties are the luckiest and most crucial period. Only the vigorous enterprising spirit and fruitful consultation of the predecessors predicted that regular script would be fully mature in the Tang Dynasty.
Wang Pai's regular script developed to Sui Dynasty, and its artistic characteristics have become standardized. Regular script in Tang Dynasty inherited the characteristics of neatness and regularity, and formed various schools with different styles and strict statutes. Jin people respect rhyme, Tang people respect law, Song people respect meaning and Ming people respect attitude, which are the norms and styles of different times. Liang Qiu, a Qing Dynasty man, said in Storytelling: "Jin people try their best to be reasonable, while Song people try their best to learn new ideas. I think I'm better than the Tang people, but I'm not as good as it is. "
With the unprecedented development of regular script, there was a new breakthrough in the study of calligraphy theory in the Tang Dynasty, and a large number of calligraphy theorists appeared. According to the previous experience and the aesthetic law of regular script, they summed up the creative law of regular script art in practice. Since the Han and Wei Dynasties, there have been many book critics, but all of them are "not good for the future" (book spectrum). In the Tang Dynasty, it was quite different, such as the eight and thirty-six teaching methods, teaching strategies and pen theory, Yu Shinan's brushwork essentials, the book refers to the book, his brushwork and the meaning of the book, Sun's book spectrum, and his book folding and pen theory. Lin Yun's Preface to Pulling Oranges, Xi Shi's The Analects of Confucius, and Zhang Yanyuan's Record of Fa Shu Yao, etc. , too numerous to mention. These works explain the techniques and rules of regular script in such a detailed and concrete way that people can see at a glance, which has important guiding significance for the creation of regular script and reflects the requirements of Tang Dynasty for the aesthetic feeling of regular script. In operation, the most detailed is Zhiyong's Eight Laws of Yongzi, which comes down in one continuous line, that is, edge, joy, anger, interest, strategy, grazing, pecking and licking, which embodies the main content of regular script writing rules. Because of this, Ou Yangxun can't cover all the words in stippling, so the gain is reduced, and he runs eight tactics to vividly and meticulously describe the writing posture. Yan Zhenqing also wrote Ode to Eight Laws, Twelve Meanings of Zhang Xu's Writing Style, etc., which is quite insightful in expounding the writing style. Ou Yangxun has a lot of research on structure. In his Teaching Tactics, he said, "Every stroke should be in the right circle, with vertical and horizontal strength and full attention. When judging the word potential, all sides stop evenly, eight sides have it, the length fits, the thickness is compromised, the mind is accurate, and the density is respectful. " According to legend, the Thirty-six Laws he created were the most detailed in the Tang Dynasty and became the standard of regular script. On this basis, Mason Lee's Eighty-four Method of Chinese Characters Structure in Ming Dynasty and Huang Ziyuan's Ninety-two Method of Shelf Structure in Qing Dynasty all developed. The construction method of Jiugongge font was created by the Tang Dynasty, and it is easy to get the stipulation of stippling measures. People in the Tang Dynasty have a special study on the perfection of regular script, and because of their special study on structure, there are many calligraphers who are good at regular script. Even cursive writers Zhang Xu, Huai Su and Sun have solid basic skills in regular script. Sun said, "If you are proficient in composition, you will naturally be able to tolerate it. If you write first, you will be chic and adroit." . Calligraphy in Wei and Jin Dynasties developed to the extreme of passion. With the restoration of Confucian tradition in the early Tang Dynasty, Sun put forward the requirement of establishing a system of rules and regulations, saying that "although the method of giving is determined by oneself, it belongs to the present". If you want to succeed in your study, you should practice according to the correct rules and persevere. Entering the law is the means, and exiting the law is the purpose. Zhang Xu's "Langguan Shizhu Ji" is dignified and neat, and its composition is extremely strict. This regular script technique makes his calligraphy "strictly observe the statutes, but vertically exceed them". No matter what style the calligraphers in the Tang Dynasty were good at, they were meticulous in regular script, which was still there at that time. "True point painting is form and quality, and it turns into temperament". The beauty of regular script lies in temperament, which can be shaped by qi. While pursuing the external objective beauty of calligraphy, Tang people paid special attention to the objective laws in calligraphy creation, and raised the summary of calligraphy to a complete level.
The Tang Dynasty set off a huge wave of cultural innovation, and the innovation and improvement of regular script art is the general trend. The Tang Dynasty was a prosperous and powerful dynasty. The prosperity of social economy is inevitably reflected in the cultural field. Calligraphy art, as a superstructure, is determined by the economic base. "With the change of the economic base, all the huge superstructures have changed faster or slower" (Preface to the Criticism of Marx's Political Economy). Since the Wei, Jin and Six Dynasties, the aristocratic culture under the door valve system has not adapted to the needs of the Tang Dynasty. A representative figure in the fields of poetry, music, sculpture and architecture, he dares to break through the old tradition and innovate. In the field of calligraphy, Nanshu, represented by the two kings in the early Tang Dynasty, occupied a dominant position. Wang Xizhi is an innovator of Zhong Shu, and his books are characterized by thinness, rhyme and beauty. Due to the decadent gate system and the restriction of the life of the gentry at that time, the southern calligraphy inevitably had historical limitations. This aristocratic elegance and gentleness can't adapt to the prosperity and openness of the Tang Dynasty. Calligraphy art is facing reform and improvement.
Under the development trend of regular script, the rulers of Tang Dynasty advocated calligraphy, especially regular script. As we all know, the economic foundation is the final determinant of cultural development, but material production or life does not directly determine artistic production, and politics directly affects artistic production first. The influence of politics in Tang dynasty on the development of regular script is direct and far-reaching, which is manifested in the fact that Qingming politics made the society relatively stable. From the "Zhenguan Rule" of Emperor Taizong in the early Tang Dynasty to the "Kaiyuan Shengshi" of Xuanzong in the middle Tang Dynasty, the social economy was unprecedentedly prosperous, and the development of culture and art became the peak of the world at that time. The country is unprecedentedly unified, cultural exchanges between China and foreign countries are extensive, and all ethnic groups are integrated and friendly. All these provide a good social environment for the development of calligraphy. In addition, the rulers of the Tang Dynasty advocated calligraphy and made specific requirements and measures for regular script in schools, imperial examinations and officials.
The preference of the rulers of the Tang Dynasty for calligraphy made ministers follow suit. "The thoughts of rulers are thoughts that occupy a unified position in every era. In other words, a class is the dominant material force and spiritual force in society "(Selected Works of Marx and Engels, Volume I, page 52). From Gaozu to Emperor Taizong, Gaozong, Zhongzong, the deaf-mute, Xuanzong, Suzong, Xuanzong, Dou Hou, Wuhou and Wangzhu were all calligraphy lovers, and most of them were calligraphers at that time, who were good at regular script. According to Zhu's "Continued Book Break", there are at least eight kinds of excellent books in Taizong, which are able to write, good and correct, and Xuanzong can write. Emperor Taizong loved Wang Shu deeply, and he was keen on writing. He tried to learn the "Ge" method from Yu Shinan, and then summed up the experience of "doing it for Ge Birun". Princess Yinchuan and jinyang princess, the daughters of Emperor Taizong, are both good books and can be used as energy products. The history of Gaitang is praised by books, and as for all his children, they can learn from them, which can be described as flourishing.
According to the New Tang Book, in the first year of Zhenguan, there were 24 book lovers with more than five qualities who went to the library to learn books and gave them forbidden calligraphy. During the reign of Emperor Xuanzong of the Tang Dynasty, those who sought the ability of writing were those who wrote straight books, those who wrote straight books, drew straight pictures and extended books were those who were straight schools, and Hong Wen Pavilion was kept under the door, adding books and jurisprudence. There were six schools in the Tang Dynasty: Guo Zi School, imperial academy School, Four Schools, Law School, Calligraphy School and Arithmetic School. Calligraphy seems to be a college with 30 students, 2 doctors and/kloc-0 teaching assistants. Ma Duanlin said in the "Literature Examination and School Examination" that calligraphy students "learn a piece of paper in two days, learn the current situation, read Mandarin, speak Chinese, read Zilin, Sancang and Erya". All books are limited to three years old, two years old for Shuowen and one year old for Zilin. "In this calligraphy school, students' knowledge and writing ability are highly demanded. According to the records of the Six Classics of Tang Dynasty, Hong Wen Pavilion is a place where aristocratic children study, and there are also students who study calligraphy. Notes on the Analects of Confucius, handwritten by Tang Jinglong for four years, was unearthed in Xinjiang and written in neat fine print by Bu Tianshou, a righteous student aged 12. It's really amazing and admirable! I received a good education from an early age, laid a good foundation and achieved success in regular script.
In the imperial examination and the selection of officials, the requirements for regular script are more obvious and strict. "Tang Hanlin Academy has a bachelor's degree in calligraphy, imperial academy has a doctor's degree in calligraphy, and the imperial examination has a book department. The official department judges cases by books, and calligraphy is one of the ways to enter the body, so there are many people who attack books in the Tang Dynasty "("A General History of Fan Wenlan and China ",volume 4, page 379). At that time, Jinshi was only qualified as an official. To get an official position, he must pass the "selection examination" of the official department, including four items: body, speech, writing and judgment. The requirement of "book" is "beautiful writing" (Selected Records of New Tang Dynasty Books), that is, regular script should be dignified and beautiful without losing its statutes. Ma Zonghuo's book Tree Algae says: "Take the beauty of books as the middle distance, and Nie takes the scholar of books." The General Code states that "his regular contributions include scholars, understanding laws, books and calculations". In the Ming calligraphy exam, the oral exam was taken first, and then six posts of Shuowen and four posts of Zilin were written. Those who can give lectures and write different styles of calligraphy will be the best. Textual research and Jinshi should also be good at calligraphy. For example, Liu Zongyuan and Liu Yuxi, both of whom are scholars, have good calligraphy and are considered outstanding among calligraphers. Intellectuals need regular script to get ahead and enter the officialdom, which gives regular script a broader soil.
The rulers of the Tang Dynasty also paid special attention to calligraphy talents and reused regular script experts. The central government of the Tang Dynasty set up the posts of Nunnery or Hanlin Nunnery. Wei Zhi recommended Chu Sui Ai to Emperor Taizong. After Emperor Taizong ascended the throne, he summoned Liu Gongquan to serve Mu Zong and said, "I saw your handwriting in the Buddhist temple and thought about it for a long time." On this day, I worshipped the right to pick up the bones, supplemented the Hanlin bachelor, moved to the right to pick up the worship, and sealed the foreign minister. When Zhong Shaojing was in Wuhou, he "led his career to Fengge". At that time, people who valued regular script were so talented. In "A Book of Hundred Officials in the New Tang Dynasty", we can see that many experts in regular script writing were placed in the central departments of the Tang Dynasty, such as Chongwen Pavilion 10, Secretariat Bureau 25, Secretary Province 10, History Museum 50, Works Bureau 5 and Official Education 2. If regular script is well written, it is possible to gain the respect of the rulers, so that more people will naturally devote themselves to regular script.
Calligraphy art is closely related to social ethics. Regular script is developed to meet the actual needs. In the Tang Dynasty, it became a common practice to write inscriptions, epitaphs, hymns, save the nation from extinction, official inscriptions and various titles in regular script. With the prosperity of Buddhism, Confucian classics originated in the Six Dynasties became popular in the Tang Dynasty. From the imperial court to the people, there are many experts who write classics. Mr. Fang Jiekan has a poem, "The sage lingers in the canon, leaving ink to cherish the Tang Dynasty, which is solemn and wonderful. There is a diamond at the bottom of the pen, which costs two or three thousand yuan and leaves a piece of paper. " The legacy of Tang Xian's scripture writing is profound and elegant, with complete statutes, which embodies the style of the prosperous Tang Dynasty. Bao Chen Shi said that Yan Shu's "like plowing cattle, it is steady and beneficial to the people". Yan Shu came from the people and was finally loved and widely used by the people. At that time, the inscriptions of ministers, ministers, and articles published in the Ming Dynasty could not get Liu Gongquan's words. People think it's unfilial. Even when they go abroad to pay tribute, they have their own goods to buy willow books. Yan Ti and Liu Ti came into being in the real life of the Tang Dynasty, with strict regulations, which met the aesthetic standards of the people in the Tang Dynasty and finally met the needs of social life in the Tang Dynasty.
It can be seen that under the initiative of the rulers, regular script played a very important role in the social and cultural life of the Tang Dynasty. With the unprecedented expansion of the scope of use and people's endless pursuit of art, the unity of art and practice, theory and practice, unexpectedly. Mao Zedong pointed out: "Art for the sake of art, art beyond class, art parallel to or independent of politics, actually does not exist." Regular script in the Tang Dynasty, with colorful flowers, various schools and brilliant achievements, is the unified crystallization of fanatical objective factors and calligraphers' subjective efforts.
Subjectively, regular script writers in Tang Dynasty not only attached importance to inheriting traditional experience, but more importantly, actively explored, broke through tradition and brought forth new ideas in long-term and arduous practice. In the early Tang Dynasty, Europe, Yu, Chu, Xue and Lu were all in trouble, still alive, learning from the king and mixing their own wishes. They inherited Wang's book and developed and innovated it, each with its own characteristics. , Yan, Su Lingzhi, etc. In the middle Tang Dynasty and Sheng Tang Dou were fat, and their innovation achievements were higher than those in the early Tang Dynasty. In the middle and late Tang Dynasty, Liu Gongquan and Shen Chuanshi devoted themselves to being thin and hard, trying to correct the lack of hypertrophy in the prosperous Tang Dynasty, which also reflected a certain innovative spirit. In this great era, regular script emerges in large numbers and becomes the staple food of later generations. There are many excellent regular script works, many categories, strict statutes, short and long, fat and thin. During the Guangxu period, A Qing and Yang Shoujing compiled The Origin of Buddhism, which brought together the elites of past dynasties. From Wei to Sui, there were 45 titles, only 35 in Tang Dynasty, with five generations 1. From Han Dynasty to Sui Dynasty, there were 292 kinds of steles, including 346 kinds in Tang Dynasty and 8 kinds in Five Dynasties and Ten Countries. In the long history of nearly 300 years in the Tang Dynasty, Ou Yangxun, Yu Shinan, Chu Suiliang, Lu Jianzhi, Xue Qi and Xue Yao appeared in the early Tang Dynasty, Li Yong, Yan Zhenqing and Xu Hao in the prosperous Tang Dynasty, and Liu Gongquan and Shen Chuanshi in the late Tang Dynasty. Among them, Europe, Yu, Chu, Yan and Liu are the most successful, and Europe, Yan, Liu and Zhao Mengfu in Yuan Dynasty are the four major regular script writers in China.
Ou Yangxun was sensitive and enlightened since childhood, and was familiar with the world. His calligraphy was quite famous in the Sui Dynasty. He continued to spread, people thought it was Buddhism, and his reputation spread overseas. Study hard. When I was walking with Heather, I saw the inscription written by Suo Jing, and I looked at it. I walked a few miles and came back, but I had to walk it in three days. After enjoying the right army's "pointing to the old picture" for several months, I was happy but didn't sleep. While casting the characteristics of regular script in Han Li and Jin and Wei Dynasties, he added the inscriptions of the Six Dynasties, absorbed the strengths of various schools, and achieved mastery through a comprehensive study, thus creating Home Face, which is internationally known as "European style". Throughout his masterpieces, such as Jiucheng Palace, Huadu Temple, Yugong, Huangfushengchen, etc., the inscriptions are bold and dangerous, and the statutes are strict. There is a wind of law enforcement in harmony, which can be described as "outstanding, not drifting with the tide" (Ming Xiangmu).
Yu Shinan learned books from Saman in his childhood, and he was quiet, lustless, determined and diligent. Shao and his brother Shi Ji were employed by Gu, and he was tortured for more than ten years. I study hard, but I draw my belly and write books as soon as I lie down at night, so my old age is particularly wonderful. Strong-willed in sex and upright in debate. Emperor Taizong attached great importance to his talents and often discussed classics and history in his spare time. Every time he talked about the gains and losses of the ancient emperor, he would satirize Emperor Taizong. Taizong said that it has five unique skills: morality, loyalty, erudition, and literature. Edit with "Bei Tang Shu Chao". His masterpiece "Confucius Temple Monument" and so on. Strict statutes, soft outside and firm inside, scattered but not scattered, moist and round, were regarded as models by future generations.
The development of regular script in Tang Dynasty, represented by Europe and Yu in the early days, is basically the inheritance and summary of Sui Shu. Ou and Yu are both Chen and Sui people. When he entered the Tang Dynasty, he was over sixty years old, and calligraphy had already become a family, which was the highest level in the Sui Dynasty. After entering the Tang Dynasty, he gave full play to his strengths, constantly summarized and improved, and created the scale of Tang Kai. Their regular script is fully mature in structure, and the standard of regular script formed has not exceeded its hedge in the future.
Represented by Chu Shu, it is a bridge connecting Europe, Yu, Yan and Liu. Chu Suiliang inherited and carried forward the highest achievement of calligraphy in Sui Dynasty, and was also the pioneer of innovation in Tang Kai. Chu Suiliang was born in an influential family with superior family conditions. When he was young, he dabbled in literature and history, worked as an official, wrote models, studied history (Ling), Europe and Yu, and later took two French kings and merged with them to form his own family. After Yu Shinan's death, Kevin·Z knew about Chu Zhonghou and honest and frank, and recommended it to Emperor Taizong, saying that "Chu Suiliang's writing style is hard, which won Wang Yi." Emperor Taizong sent a letter to deliver a book today. Distinguish the authenticity of the book "The Traces of Two Kings of the Imperial Court", prepare the theory and be correct. There are dozens of books about Chen Jian, which are often adopted. The masterpiece preface to the sermon on the Wild Goose Pagoda reflects Chu Shu's artistic achievements. Liu Xizai, A Qing, called Chu calligraphy the "Sect of Widespread Education" in the Tang Dynasty, and Mr. Shen said that Chu was able to bring forth the old and bring forth the new in the Tang Dynasty and spread it to Yan Zhenqing, which opened up a brand-new avenue in the history of calligraphy.
Yan Zhenqing, the greatest calligrapher in the Tang Dynasty, is a descendant of Yan family in Langya, with a deep family background. Young and poor, lack of pen and paper, sweeping the wall on loess to learn books. The imprint of academic language. Positive color, fairness and courtesy. He is honest, kind and straightforward, has a sense of justice, and is famous for his benevolence and righteousness. Speak up and persuade others, not afraid of power. Loyal to the monarch, patriotic, and actively safeguard national unity. Later generations compiled the Collection of Yan Wen. There are many books handed down from ancient times, such as many pagodas, Qin gate monuments, Magu, Yanjia temple monuments and confessions. Yan Zhenqing is good at learning from the ancients. He studied various books such as Erwang, Yu, Chu, Zhang Xu and Li Yong, and absorbed some nutrition from folk calligraphy at that time. He was also influenced by the innovative spirit of folk calligraphers, and summed up and improved the creative achievements of the masses with his own creative practice. Together with Du Fu and Han Yu, they have innovated the aristocratic culture under the gate valve system since the Jin, Song and Qi Dynasties in different fields, reaching a profound level. Yan Shu made great breakthroughs and innovations in the brushwork, structure, layout and ink method of Nanpai calligraphy, which dominated the calligraphy circle after the Eastern Jin Dynasty, completely changed the thin and hard calligraphy style and created a fat and broad calligraphy style. Calligraphy in Wei and Jin Dynasties made great achievements, but it failed to meet the standards of the Tang Dynasty, which was incompatible with the open weather and spirit of the times in the Tang Dynasty. "Grasp the duke of Lu, accept the ancient method in the new concept, and create new methods outside the ancient meaning. Tao Zhu, as before, is hidden. ..... so it began as a book of the Tang Dynasty "(Ma Zonghuo's Book of Tree Algae). Su Dongpo's poem says: Gong Yan is as skinny as an autumn eagle because of reform and innovation. Yan Zhenqing was able to concentrate on improving the achievements of folk innovation at that time, and was worthy of being the most accomplished reformer in the history of ancient calligraphy in China. Books are like people. Gong Yan's courage in political reform is consistent with the majestic and impeachable style formed after political reform. Yan Xiu is a noble and strict person, which is exactly Gong Yan's personality. He is honest, honest, simple, stubborn, both rigid and flexible, full of inner beauty, distinctive, individual and full of the breath of prosperous Tang Dynasty.
In the middle and late Tang Dynasty, Liu Gongquan became a school of his own, learning beauty and being rich. Beginners learn Wang Shu and read modern brushwork. Mu Zong inquired about the method of using a pen. He said: "With a pen in your heart, your heart is regular and your heart is correct." Hard work, no production. Books such as Xuanta Monument and Shence Army Monument are rigorous and pioneering, round and sharp, which are patriarchal clan system for later generations. We often say Yan Gu, which is the different characteristics of Yan and Liu's calligraphy. Liu Zi abandoned the fat pen vertical painting and wrote all the horizontal and vertical paintings flat and thin, absorbing the advantages of the North Monument. He wrote a neat book, absorbed the closeness and strict vertical trend of Ou Wei, and wrote a unique Liu Ti. His teacher is not muddy in the past, but tries his best to change the method of the right army, using ancient but light pens and new ideas.
Calligraphers such as Liu Gongquan and Shen Chuanshi in the late Tang Dynasty made great efforts to forge ahead from this narrow area and opened up a new road different from Lu Gong. Their innovative courage and spirit are particularly commendable. Yan style and Liu style reflect the achievements of regular script in Tang Dynasty, and they are also the last stage of regular script in Tang Dynasty. Yan, Liu Yi, become later generations with the law.