Huang Yun: Let me briefly talk about regular script. The regular script in the early Tang Dynasty was represented by Ou, Yu, Chu and Xue, including the inscription on the brick tower of the layman in the Tang Dynasty, until the inscription on the Langguan Wall Stone by Wei and Zhang Xu in the prosperous Tang Dynasty. This trend of reading regular script has not changed. By comparison, we can easily find that before the decline of the intermediate store model represented by Yan Zhiqing. In the early Tang Dynasty, regular script was still in the shadow of Kincaid from writing methods to writing norms. I don't mean to be overshadowed here, but I just want to explain that there is a clear difference between the early Tang Dynasty and the middle Tang Dynasty. Even the size of the font is determined by this brushwork and style, so in the early Tang Dynasty, there were no big letters, only middle letters. Yin Fu Jing, a book handed down from ancient times, was never written by a new shop owner.
A series of regular script in the mid-Tang Dynasty refers to the scrubs produced after the mid-Tang Dynasty, which are different from those in the early Tang Dynasty. Although it originated from the Jin Dynasty and was influenced by the inscriptions in the Northern Dynasty, it is different from the previous generation in brushwork and aesthetic significance. Yan Zhenqing regular script and the direct derivative regular script of nightclub Liu Gongquan are the main representatives. One of its characteristics is that the font is bigger and square. The largest works are Zhongxing Fu in the Tang Dynasty, and the general ones are Yan Bei and Mysterious Tower. Second, it strengthens the sense of frustration in starting and putting pen to paper, and it is obviously more complicated than the previous regular script in terms of both ends of the horizontal and vertical painting and the point hook frustration. This is a decorative and beautification phenomenon that has appeared in the peak stage of the evolution of various characters in history. The thick strokes of bronze seal, the flower and bird insect seal in Xiao Zhuan, and the exquisite wave-picking brush in Li Shu are all manifestations of this kind of decoration and beautification. We call it "flashy decoration" phenomenon. Yan Liu's regular script works are mainly large, which was not found in the early Tang Dynasty. Representative works such as Yan Zhenqing's Magu Fairy Altar, Yan Monument, Temple Monument and Baguan Pavilion, Liu Gongquan's Shence Army Monument and Mysterious Tower, etc. (Yan Zhenqing's early works, such as Duo Pagoda Monument and Liu Gongquan's Diamond Sutra, also have this feature). It is inevitable that the font will be blurred after enlargement, and the engraving will inevitably penetrate some F artistic atmosphere of the engraving industry at that time, leading to the beautification of the stroke end. The development of fonts is bound to slow down, and the brushwork that used to be truly connected with stippling has also changed. The independence of stippling itself has been strengthened and the continuity has been weakened. The endpoint of stippling can only find the meaning of the pen, so-called broken meaning. It is particularly emphasized here that this kind of regular script is far from bad brushwork.