I don’t know when, but many people who study calligraphy always have a view that regular script is the basis of calligraphy. In fact, there are two reasons for this statement. First, the introduction is to start with regular script, which is different from other calligraphy styles. Second, there is a lack of understanding of the evolution of calligraphy techniques.
In fact, the basis of calligraphy is brushwork. Seal script has the brushwork of Zhuanli, running cursive has the brushwork of Xingcai, Tang Kai has the brushwork of Tang Kai, Jin Kai has the brushwork of Jin Kai, and Wei Stele has the brushwork of Wei Stele. When you have mastered the writing techniques of a calligraphy style and can skillfully apply its word-tying rules, it means that you have the foundation of this calligraphy style.
Practicing regular script well does not mean that you have the foundation to write other calligraphy styles, so this argument is untenable.
In the eyes of many people, regular script is limited to Tang Kai. In fact, there is more to regular script than Tang Kai?
Regular script can basically be divided into three directions: Jin Kai, Wei Bei, Tang Kai and Jin Kai.
These three types of regular script have different writing methods, different changes, and very different styles.
First of all, the emergence of regular script stems from the fast writing of official script, which changed the waves in the strokes into straight strokes, and changed the round pens at the turning points into square pens.
The legend of Jin people’s regular script originated from Wang Cizhong, but Wang Cizhong did not leave any works to be handed down to the world. However, there are historical data available. It passed through Zhong Yao and was improved by Wang Xizhi and Wang Xianzhi and his son, and became the standard script of Jin Dynasty. model. His brushwork is mainly "one extension and straight down".
This style of writing was passed down by Wang Xizhi’s descendant, Monk Zhiyong. Until the early Tang Dynasty, Yu Shinan also used this style of writing, so the regular script of Yu Shinan in the Tang Dynasty had the connotation of Tang regular script. Regular script made by people from Jin Dynasty. This style of writing belongs to the style of Zhong Yao and Er Wang in terms of inheritance and aesthetic appeal, and we also call it Jin Kai. Jin Kaihua is mainly composed of small regular script and medium and small regular script, such as Zhong Yao's "Er Biao", Wang Xizhi's "Stele of Dutiful Daughter Cao E", "Huang Ting Jing", "Praise to Dongfang Shuo's Paintings", Yu Yongxing Gong Shinan's "Stele of Confucius Temple", etc. wait. Tang Kaiscript
As for Tang Kai, it integrates the calligraphy style of Er Wang and Jin Kai, and combines the writing and structural characteristics of the northern stele inscriptions to form a style based on "square folds and strokes". The main Tang Kai paradigm. The main representative figure is Ouyang Xun, whose "Jiucheng Palace Liquan Ming" is rigorously organized and has a strange and dangerous structure, which can be regarded as the best in Tang regular script. This also established a peak in Tang Kai script, which would be difficult for later generations to reach.
At the same time, Chu Suiliang and those who followed Xue Ji mainly used this writing method, thus laying the foundation for regular script in the mid-Tang Dynasty. One more thing to say here is that Yan Zhenqing's regular scripts are mostly based on Jin people's calligraphy, and they can well integrate the atmosphere of the Tang Dynasty, so that they are ancient and ancient. From Yan style to the Wei and Jin Dynasties, it is also a method that goes deep into the Jin and Tang Dynasties. Wei Stele
Wei Stele is majestic, dignified, sturdy and rough, which forms a sharp contrast with the beautiful and elegant "Nantie" style. Its representative works are Er Cuan Stele, "Cuan Baozi Stele" and "Cuan Long" "Yan Monument" is simple and pure, setting an example for future generations.
The writing style of Wei stele is both regular script and official style, integrating the characteristics of seal writing style and square style writing style. For example, "Zhang Qian stele" and "Xianyu Huang stele" connect the north and south. Two representatives.
For example, "Cuan Longyan Stele" can be called "Li Kai". It is thick and ancient, has a strong spirit and is full of interest in stone carvings.
In addition, there is the "Zhang Menglong Monument" that is most highly praised by Kang Nanhai. It has basically shed the official meaning and is written with a vigorous brushwork. It is ancient and vigorous, and can be called the best of the ages. Ouyang Xun's Regular script can learn a lot from it.
The best works among the northern steles, such as the "Zheng Wengong Stele", have a stable structure, and the use of wavy and square pens in parallel is also the best example of the transition from official script to regular script.
In general, regular script has been changing from the moment it was born. From Wang Cizhong to Zhong Yao, it was a change, from Zhong Yao to Wang Xizhi, Wang Xizhi and his son, it was another change, and then to the Tang Dynasty families, it was another change.
The "Longzang Temple Stele" written by Dharma King Xizhi and Li Beihai was taken from the four families of the early Tang Dynasty to form the regular script style of the early Tang Dynasty.
In the mid-Tang Dynasty, Tang Xuanzong was very fat, so Xu Hao and Yan Zhenqing entered the stage of history.
After Yuanhe, the lean and vigorous appearance represented by Shen Chuanshi and Liu Gongquan replaced the plump appearance of Yan Lugong, thus another change occurred.
If we understand the evolution of regular script and understand the evolution process of brushwork, perhaps no one will say that regular script is the foundation of calligraphy.