Before the end of the Eastern Han Dynasty, there was no standard for cursive script and regular script in a narrow sense, but because of this, the first paragraph on the first floor was untenable.
As for the second floor, can the gradual standardization of Xiao Zhuan represent the maturity of calligraphy? In this case, the works of the Jinwen period also have the same norms. Why not say that they were mature at that time?
The concept that the landlord said is also very vague. "The symbol of calligraphy maturity" will have different definitions at different levels.
On the hardware condition level? On the technical level? Or on the level of aesthetic consciousness?
Let me just say a few words from the perspective of aesthetic consciousness.
The upper limit of aesthetic consciousness of calligraphy art should be the appearance of a large number of eight-part essays in the late Eastern Han Dynasty, and the lower limit should be the standardization and maturity of truth, behavior and modern grass represented by two kings in the Eastern Jin Dynasty.