When Tang Kai students started learning calligraphy, they had laws to follow. They were able to write strokes in a square, rectangular, round, straight, consistent length, appropriate weight, and a stable structure, thus laying a solid foundation. Some people think that the Tang Kai script is strict and it is easy to be bound by the strict rules when learning. They suggest that beginners should start from the Wei and Jin Dynasties, saying that this can make the writing innocent, free and indulgent. I think it is very necessary to write characters that are either ancient, handsome, solemn, elegant, majestic, unrestrained, solemn, or flying. In short, they have a certain style and characteristics. For beginners, the structure should be neat and orderly. As Sun Guoting said: When you are new to distribution, you should strive for fairness and justice; now that you know fairness and justice, you must pursue danger and danger; now that you are able to avoid danger and danger, you must return to fairness and justice. If you don't learn Pingzheng at the beginning, your words will be crooked and unruly; but if you are too Pingzheng, you will be dull and lifeless, so you must pursue danger; if you go too far, you will be crazy and stateless, so you have to return to Pingzheng. This is the process of repeated learning and continuous sublimation. In terms of fairness and justice, Tang Kai is well deserved. Liang Liang of the Qing Dynasty said: To learn calligraphy, you must read the Tang Dynasty stele. When it is extremely strong and strong, it will be returned to the Jin people. The one who learns strict laws first or the one who learns freedom and indulgence first. Tang Xuhao's "Lun Shu" says: When you first learn, you should first learn the muscles and bones. If the muscles and bones are not upright, the flesh will not be attached. This is very insightful. I agree to start with stipple painting of thin and stiff Tang Kai script. The regular script of Ouyang Xun, a calligrapher of the early Tang Dynasty, had a clean pen and precise structure, which had a great influence on later generations. The European calligraphy "Huangfujun Monument" best represents the dangerous style of the European calligraphy, and it is the clearest and most complete among the printed European calligraphy. The writing style of "Jiucheng Palace Liquan Ming" is simple, thick and dignified, yet upright and vigorous, pursuing steepness while maintaining a smooth structure. Liang highly praised the European calligraphy and said: To write the European calligraphy, it can be written on any stele or tablet. Yang Shoujing of the Qing Dynasty said: Ouyang Xinben's Liquan Ming was recommended by Zhao Zigu as the ultimate standard of regular script, and no one has any objection. Beginners who learn these two tablets can avoid the problem of loose structure. "Duobao Pagoda Stele" written by Yan Zhenqing, a calligrapher of the Mid-Tang Dynasty when he was 44 years old, mostly uses square pens. It has a clear contrast between horizontal and vertical weights, full of three-dimensionality, and a square and rigorous structure, which is suitable for beginners. Some of Yan Zhenqing's works in his later years have plump and powerful strokes and wide and comfortable structures. They often pursue innocence and return to simplicity, which is easy to be bloated and ugly for beginners, so it is not suitable as a way to get started. Liu Gongquan, a calligrapher of the late Tang Dynasty, wrote "Mysterious Pagoda Stele" and "Shence Army Stele" with both square and round strokes. The stippling is fresh and vigorous, like a clank of iron bones. The center of the structure is tightly gathered and spread out on all sides. If you learn it, you can get thin and hard strokes. with rigorous structure. As long as the professors are good at teaching and the scholars persevere, it will not be a problem for the monuments mentioned above to be included in the monuments within half a year to a year.