The regular script of the Tang Dynasty is like the prosperity of the country in the Tang Dynasty, which is truly unprecedented. The style of calligraphy is mature and calligraphers emerge in large numbers. In terms of regular script, Yu Shinan, Ouyang Xun, and Chu Suiliang in the early Tang Dynasty, Yan Zhenqing in the middle Tang Dynasty, and Liu Gongquan in the late Tang Dynasty all had their regular script works valued by later generations and regarded as models for calligraphy practice.
The ancients had this saying when learning calligraphy: "To learn calligraphy, you must first write regular script, and to write calligraphy, you must first write large characters. Large characters use Yan as the method, and Chinese regular script uses European style as the method. Once you are familiar with Chinese regular script, you can then focus on it. It is in regular script and King Zhong is the law." However, the results of many years of experimental research show that when you first learn to write, it is not advisable to learn characters that are too large first, and Chinese regular script is more suitable.
The regular scripts of the three great calligraphers of the early Tang Dynasty, Ouyang Xun, Yu Shinan, and Chu Suiliang, are all the most suitable copy models for Chinese regular script. The respective brief introductions are as follows:
Ouyang Xun's block script originated from ancient Li, based on Erwang style, and referenced the calligraphy style of the Northern School of the Six Dynasties. It has a unique structure, an original style, and is particularly authoritative. Its influence has penetrated deeply into society, and it has become almost the standard book for academics. The characteristics of regular script are that the pen is strong and sharp, the strokes are square and neat, and the structure is cheerful and healthy. His representative regular script inscriptions include the "Jiucheng Palace Liquan Inscription" and the "Huadu Temple Stele".
Yu Shinan's regular script is elegant and elegant, inheriting the legacy of Zen Master Zhiyong and being a direct descendant of the Wang School. Although it originated from the Wei and Jin Dynasties, its soft exterior and strong interior, as well as its deep and serene charm, swept away the cowardice of the calligraphy style of the Wei and Jin Dynasties. Among his representative works in regular script, "Confucius Temple Monument" should be the most representative.
Chu Suiliang's regular script is famous for its sparseness, thinness, and strength. Although he originated from the Youjun army, he is still charming. Its font structure seems to be very unrestrained, but it can skillfully reconcile the quiet style, creating a situation that has never been reached before. His representative regular script works should be the "Preface to the Holy Religion of the Wild Goose Pagoda".
Xiaokai, as the name suggests, is the smallest type of regular script. It was founded by Zhong Yao in the Wei Dynasty of the Three Kingdoms. He was originally the most outstanding authority in official script. The style of his regular script was also derived from the Han official script, with a vague style. It's like a flying giant playing in the sea, extremely vivid. However, the structure is wide and flat, the horizontal strokes are long and the straight strokes are short, which still retains the legacy of official script. However, the regular script has been fully prepared, and it is actually the ancestor of the official script. In the Eastern Jin Dynasty, Wang Xizhi studied the small regular script calligraphy more carefully, making it reach a state of perfection, and also established the standard for the appreciation of the beautiful small regular script calligraphy in China.
Generally speaking, writing small characters and writing large characters are very different. The principle is: writing large characters must be tight and seamless, while writing small characters must be wide enough. That is to say: writing large characters must be as precise as small characters; while writing small characters must be as cramped as large characters. Therefore, the ancients said, "Writing large characters should be like small characters, and writing small characters should be like large characters." Su Dongpo also discussed calligraphy. There is a saying that goes, "It is difficult for large characters to be dense and seamless, and for small characters to be wide and wide enough." How do you say these words? Because when we usually write large characters, we think that the position (area) is wide and can be used freely. As a result, the font becomes loose and empty. Writing small characters is just the opposite. Because the space is too small, if you worry about not being able to write, you will inevitably have to try your best to shrink. Often, shrinking is too much, which turns into crouching. These are all natural psychological phenomena and are easily violated. Therefore, Mr. Su's words "It's impossible to do anything big or small" are precisely aimed at this kind of expression, and they are also based on experience.
The coordination of the focus and strokes of writing small characters is not much different from that of large characters. As for writing, it's slightly different. The writing style of small characters should be round, graceful, straight, and neat; the writing of large characters should be majestic and thick. When writing large characters, use the reverse edge (hidden edge), and when closing the pen, use the returning edge; when writing small characters, it is not necessary to use the reverse edge, and it is better to use the sharp edge, and when closing the pen, it is better to use the pen or lift the pen. For example, when writing a horizontal line, the starting point of the pen may be pointed and the ending point of the pen will be round; when writing a vertical line, the starting point of the pen may be slightly paused and the ending point shall be pointed; Fat, but also slightly arced to the left and right, the strokes should be vivid and emotional; the points should be pointed and round, the pick should be pointed and sharp, the bend should be square on the inside but round on the outside, and the hook should be half curved and half straight. The writing style is flexible and changeable, and cannot be limited. Especially for the whole text, the strokes should be different but coordinated. When written line by line, the words should be well-proportioned but always on the same line. In this way, the Qi will naturally flow through it and look at it like a string of pearl necklaces, with a high spirit.
Small characters were necessary calligraphy for daily use in ancient times. In the past, when taking the imperial examination, most of the people who marked the papers read the characters first and then the articles.
If the wording is not good, no matter how good the article is, it will be affected. The number one scholar in the Chao Kao and the Imperial Academy paid special attention to calligraphy. Therefore, all the small characters of the number one scholar and Hanlin scholar are exquisite. Generally speaking, they are also good at writing small characters. Nowadays, hard pens are popular, and not many people use brushes to write small characters. However, using hard pens to write in small regular script copybooks has a significant effect of getting twice the result with half the effort. Therefore, if you want to write hard pen calligraphy well, you might as well find a good small regular script copybook and practice it. It will definitely lay a solid foundation that will benefit you throughout your life.
There are many small regular script copybooks. Among the ink rubbings handed down from generation to generation, the small regular script of Jin and Tang Dynasties is the most famous. These usually include "Declaration Post" and "Recommended Ji Zhibiao" by Zhong Yao in the Wei Dynasty, "Le Yi Lun", "Cao E Stele", "Huang Ting Jing" by Wang Xizhi of the Eastern Jin Dynasty, "Thirteen Lines of Luo Shen Fu" by Wang Xianzhi, and "Thirteen Lines of Luo Shen Fu" by Tang Zhong Shaojing. "Ling Fei Jing" and so on. There are also ink photocopies of small regular script works by Zhao Mengfu of the Yuan Dynasty, Wang Chong of the Ming Dynasty, Zhu Yunming and others, which are also very good examples.
Zhong Yao's calligraphy has a simple style, but none of the handed down works "Declaration Table" and "Ji Zhi Table" are authentic, and most of them were copied by later generations or made on the fly. When you appreciate a good copy of a rubbing, you can imagine its quaint calligraphy style.