"The Preface to the Holy Religion of the Wild Goose Pagoda" is the work that best represents Chu Suiliang's regular script style. The font is clear and vigorous, and the calligraphy is skillful and so

"The Preface to the Holy Religion of the Wild Goose Pagoda" is the work that best represents Chu Suiliang's regular script style. The font is clear and vigorous, and the calligraphy is skillful and sophisticated. Chu Suiliang had already entered old age when he wrote this monument, and by now he had created a complete set of standards for the new Tang Kai script. In terms of the structure of the characters, the long characters of Ou and Yu were changed, creating a font that looks slim but is actually strong and full. In Chang'an, Huaisu's reputation soared, and there were 37 poems praising his cursive writing. His cursive scripts include "Autobiography Tie", "Bitter Bamboo Shoots Tie", "Eating Fish Tie", "Mother's Tie", "Lun Shu Tie", "Dacao Qianwen", "Xiaocao Qianwen" and "Forty-Two Chapter Sutra". ", "Thousand Character Essay", "Zhenzhen Tie", "Seven Tie", "Beiting Cursive Brushwork" and so on. Among them, "Fish-eating Tie" is extremely thin, strong-boned, cautious and calm. The "Self-narrating Tie" is written in a different mood than the "Eating Fish Tie", and the charm is rippling. It’s really each in its own way. Mi Fu's "Haiyue Book Review": "Huai Su is like a strong man wielding a sword, with a moving spirit, and he is whirling forward and retreat, all without missing a beat." Many poets in the Tang Dynasty praised it, such as Li Bai's "Songs in Cursive Script" and Man Ji's "Huai Su" "The Master's Cursive Script Song".