How about Chu Suiliang's regular script? What are the characteristics?

Because Emperor Taizong advocated the word "Wang", Chu Suiliang also deeply understood the two kings' ways of doing things, taking the virtual as the truth and turning the real into the virtual, forming a style full of strength, charm, thinness and elegance, and calmness and fortitude. "Book End" commented on his book: "If Yaotai is green, it will reflect the spring forest. Beauty Chanjuan, not Luo Qi, graceful and restrained, Europe, Jade Xie ". Chu Shu is represented by Fang Ling Xuan Bei and Preface to the Wild Goose Pagoda, especially the Preface to the Wild Goose Pagoda, which he wrote when he was 58 years old. Wang Xuzhou commented: "The pen is thin and energetic, like a century-old vine, flying in the air, and the dregs are empty. I want to be an inch away from the paper, like a clear cloud hanging in the air, a fairy. " He also said: "The Book of Gong Chu seems thin, but in fact it is moist and looks like Gu Zhuo. In fact, it is elegant. The strokes are all in the air, suddenly falling, accidentally touching the paper, the power between the words and the meaning between the pens are inexhaustible." According to the comments of past dynasties and the author's experience in learning Chu-style regular script, Chu Suiliang's regular script has three characteristics:

1、

Dignified and beautiful This is the first major feature that Chu Kai has been deeply loved by everyone. Dignity is based on its extraordinary ability to conclude words. No matter what monument or column Chukai has, it naturally presents a rigorous and harmonious structure, solemn and full of temple atmosphere. Stroke composition is not far-fetched, straight and symmetrical, full of hibiscus posture; Beauty is the expression of his talent. Chu Kai's slender, tough and agile lines are really beautiful in the square and rigorous structure, but the center of the plane always presents the sharpness of the shadow, which perfectly combines the flesh and blood with the elegance of the author's heart, like a flowing spring running in the forest to repair bamboo, and if a pine tree stands on the mountain, it is like the smiling back of a loving lady.

2. Smooth and dignified. Chu Kai showed the author's brilliant talent in solving this contradiction, which is probably the reason why the book circle still respects him. Chu Kai's early "Monument to Mencius" is mainly European and French, which is dignified and heavy. Other inscriptions have a natural and smooth, dignified and calm Chu style, which is one of the signs of Chu Kai's maturity. No carving, no decoration, no informality, dexterity, openness and freedom of access. The atmosphere is open, the brushwork is concise, the length should be short, attention should be paid to discretion, and the press should be clear. Smooth and absurd, dignified and procrastinating. We can feel this in the preface to the sacred teachings of the Big Wild Goose Pagoda and the Square Monument, especially in the two mimeographs of Yinfu Jing and Ni Kuanzan.

3, straightforward and colorful. If Chu Kai's pen movements in the air are connected, they are basically line or cursive gestures, and the running script is directly used on two ink books. At the same time, it improves the opening and closing of the knot characters, the weight of the knot, and the handling of the same character and the same pen. # 156 10; Easy and varied. Sometimes it goes straight in and out, and sometimes it goes back to the front to hide its tail; Sometimes very determined.

Iron, sometimes scattered; Sometimes it's a swipe, sometimes it's a pen hook. In these numerous changes and colorful strokes, a brilliant secret was created and a graceful charm was displayed, that is, silent music and wonderful dance.