Now many people learn calligraphy for the first time, and they may choose Yan Zhenqing's regular script, or Liu Gongquan's or Ou Yangxun's. It's still a much bigger Weibei. In this way, you can experience regular and static regular script more quickly. However, it is precisely because of the strict laws and regulations that many learners are bound. People who are confined to the rules may not be able to master the method of posting one post at a time, but they may not be good at using it, which leads to many book diseases, because it is difficult to completely cure and achieve good results after repeated years. Calligraphy techniques and font development are complementary, but in the Tang Dynasty, the technique of lifting and pressing was exaggerated, and Yan Kai reached the largest lifting and pressing range of horizontal painting in all regular scripts. A large number of exaggerated lifting strokes let learners learn this exaggerated lifting action. After repetition, you may form an involuntary habit of using a pen, which is what everyone often says.
In the Tang dynasty, the regular script was heavy, and the Song people chose the boat, which opened the wind of freehand brushwork. Su Shi said: "I can't write books with my heart, and it's hard to find a hand!" In the freehand brushwork style, materials and techniques are all for "me", and when emphasizing individuality, it will naturally be slightly contrary to the rigid * * * *. However, some descendants took this sentence as an end and became their own fig leaf without going through the process of enlightenment.
The emergence of the wind of attaching importance to calligraphy in the Song Dynasty just avoided the dilemma that calligraphy would be unremarkable after the Tang Dynasty. Tang Kai and Song Sijia have high artistic attainments in calligraphy, combining rigidity with softness, and mastering the rules correctly. And some descendants are not allowed to wear such hats.