What are the artistic schools in the development history of regular script?

Song Xuanhe's Book Score: "In the early Han Dynasty, Wang Cizhong began to use official script as regular script." People think that regular script evolved from official script. It is said: "On the tomb of Confucius, a regular script tree planted by Zi Gongzhi has straight and unyielding branches." The strokes of regular script are concise and refreshing, and must be like the branches of regular script trees. In the early days, there were few official handwriting, the structure was slightly wider, the horizontal painting was long and the vertical painting was short. In Wei Jinzhong handed down from ancient times, such as Zhong You's "Declaration Form" (left), "List of Recommended Seasons", Wang Xizhi's "Le Yi Lun" and "Huang Ting Jing" can all be regarded as representative works. Look at its characteristics, as Weng Fanggang said: "Change the wave painting of official script, pick it up, and still keep the vertical of official script." After the Eastern Jin Dynasty, the north and the south were divided, and calligraphy was also divided into two factions. The calligraphy style of the Northern School has inherited the legacy of Han Li. The brushwork is simple and rigorous, but the style is simple and rigorous, so it is called "Weibei". Southern calligraphy is more sparse and beautiful than letters. During the Northern and Southern Dynasties, because of regional differences, personal habits and book styles were very different. The books in the North are strong and the books in the South are rich, each of which is wonderful and inseparable, while Bao and Kang Youwei highly admire the books of the two dynasties, especially the epitaphs of the Northern Wei Dynasty. Kang cited ten beauties to emphasize the advantages of Weibei. Regular script in the Tang Dynasty, like the prosperity of the national situation in the Tang Dynasty, is really unprecedented. Calligraphy style is mature, and calligraphers come forth in large numbers. In terms of regular script, Yu Shinan, Ou Yangxun, Chu Suiliang in the early Tang Dynasty, Yan Zhenqing in the middle Tang Dynasty and Liu Gongquan in the late Tang Dynasty all regarded his regular script works as models of calligraphy. In ancient times, there was a saying: "Learning calligraphy must start with the pattern, and writing must start with the big characters. Chinese characters are based on Yan, Chinese characters are based on Europe, Chinese characters are familiar, and then they are gathered into small characters. " However, according to the results of many years of experimental research, it is not appropriate for beginners to learn too big words first, but it is more suitable for Chinese letters. The regular script of Ou Yangxun, Yu Shinan and Chu Suiliang, three great calligraphers in the early Tang Dynasty, is the most suitable model for copying Chinese characters. This is a brief introduction as follows: Ou Yangxun's block letters, which originated from ancient Li, are in the style of two kings and the style of northern schools in the Six Dynasties. They are unique in structure, unique in originality, authoritative and influential in society, and are the standard for learning books. Investigating the characteristics of regular script, the pen is strong and powerful, the strokes are neat and tidy, and the structure is cheerful and healthy. His representative works of regular script inscriptions include "Jiuchenggong Liquan Ming" and "Huadu Temple Monument". Yu Shinan's regular script, elegant and graceful, inherited the legacy of the wise and brave Zen master and was the clique of the Wang school. Although it originated in Wei and Jin Dynasties, its softness on the outside and rigidity on the inside swept away the cowardice of Wei and Jin calligraphy style. His masterpiece in regular script is Confucius Temple Monument. Chu Suiliang's regular script is famous for its sparseness and strength. Although he is the ancestor of the right army, he can win its charm. Its font structure seems very bold and unrestrained, but it can skillfully reconcile the quiet style and create an unprecedented situation. His masterpiece in regular script is Preface to the Sermon of Yanta.