The so-called "Four Great Calligraphers" in ancient China are Ouyang Xun, Yan Zhenqing, Liu Gongquan of the Tang Dynasty and Zhao Mengfu of the Yuan Dynasty. People usually say that Ou Ti, Yan Ti, Liu Ti and Zhao Ti are named after their surnames respectively. They can also be called the "Four Masters of Regular Script".
Ouyang Xun first studied Wang Xizhi and Wang Xianzhi, absorbed Han Li and regular script since the Wei and Jin Dynasties, and brought together the strengths of Northern Dynasty stele inscriptions and other Tang Dynasty calligraphers. It is precise and elegant, forming a "dangerous" and "stable" calligraphy style. Self-contained "European body". His greatest contribution was his arrangement of the structure of regular script. It is said that Ouyang Xun summarized thirty-six structural methods of regular script fonts, which were called "Ouyang Xun's Thirty-Six Methods". His representative work is "Jiucheng Palace Liquan Ming".
Yan Zhenqing, a calligrapher of the Tang Dynasty, came from a scholarly family and was the fifth-generation grandson of the famous scholar Yan Shigu. Yan's regular script reflects the style of a prosperous age and is majestic; and his cursive style made Mi Fu of the Song Dynasty also admired it. Yan Zhenqing's calligraphy is strong, powerful, majestic and innovative, and his representative works are "Duobao Pagoda Induction Stele" and "Manuscript for Nephew Memorial".
Liu Gongquan first learned from Wang Xizhi and studied the brushwork of Ouyang Xun and Yan Zhenqing, and then became his own style. The regular script he writes is vigorous and charming, with strong bones and strong morals. Compared with the Yan body, the Liu character is slightly thinner, so it is called "Yan Jin Liu Gu". His representative work is "Shen Ce Military Monument".
Zhao Mengfu was the 11th grandson of Song Taizu. His greatest achievements were in regular script and running script. The most important feature of his works, whether in regular script or running script, is that they are neat and even. Gentleness and elegance are the main features of his calligraphy. It can be said that he is an important bridge figure who inherited the Jin and Tang Dynasties and inspired the Ming and Qing Dynasties. In his later years, Zhao Mengfu used ancient Chinese, seal script, official script, Zhangcao and regular script. Each of the six calligraphy styles of Jincao wrote a volume of "Thousand Character Essay", creating an unprecedented record. Zhao Mengfu is the third most influential master in the history of Chinese calligraphy after Wang Xizhi and Yan Zhenqing.