Tang Kai refers to the mainstream calligraphy style in Sui and Tang Dynasties, which is completely mature and stereotyped. From the perspective of calligraphy, popular or popular. However, it is also the peak in the development history of regular script that Tang Jieduo's descendants choose the object of law.
First, the style orientation is different: the inscriptions in the Northern and Southern Dynasties are simple and naive, such as Cong Baozi, Yan Long, Shan Wang and Guangwu General. There is also a sense of strictness and beauty in many aspects, such as Zhang Menglong Monument and stone statues. Cliff stone carvings are quiet and broad, and the weather is quiet, such as Mount Tai Diamond Sutra. There are also Xiao Shu's works, such as Shimen Ming, but Zhang Hei's epitaph is graceful and elegant, which can be compared with Han Li's Cao Quanbei's Wanli Jing Ya.
By the Sui and Tang Dynasties, the model was mature, which basically eliminated Wei Bei's intention to seal official letters. Form tends to be formal, while Tang Jie tends to be popular. Ou Shu is solemn and quiet; Yu Shu's generosity and spirit; Sui Liang's agility is changeable; Yan Shu's breadth is rich; Liu Shu's compactness and rigidity. Compared with Wei Bei, he is more unnatural and constrained by statutes. It's not surprising that the structure is relatively stable. However, Tang Kai is skillful in writing, meticulous and strict in statutes.
Second, the structural difference: the knot in Weibei is almost natural, with a "childlike" appearance, but simple and simple, and "childlike" can reach one in ten thousand. In contrast, Tang Kai's structure is perfect and visual aesthetics is popular. There are Ou Yangxun's "Thirty-six Knot Method", Zhi Guo's "Ode to the Heart", Zhang Huaiguan's "Forbidden Classics" and other calligraphy theory's works specializing in the mystery of knot characters. Perhaps it is precisely because of the legal agreement that future generations respect the laws of the Tang Dynasty and dare not cross the line.
Third, the difference between lines: Wei Bei's stippling is concise and powerful, full of elasticity, which is manifested in the unsmooth movement of lines. There are also beautiful and beautiful squares, which are very different from Han carvings. Both harmonious and peaceful. There are thousands of styles and features, which are difficult to list here. Tang Jie, on the other hand, has the exquisite beauty of Europe, which makes him elegant and chic, with a plump face and strong willows. Compared with the two, Tang Jie lags far behind.