Book style classification

Seal script is divided into two categories: big seal script and small seal script. Dazhuan mainly refers to the ancient characters of Oracle Bone Inscriptions, Zhong Dingwen, Shang and Zhou Dynasties. Xiao Zhuan is a legal script issued after Qin unified China, which was popular in Qin and Han Dynasties. China characters with a long history germinated as early as ancient times, and symbolic characters appeared as early as 5000 BC. Although its writing function has not been freed from the simple function of recording pictures, its relationship with China characters is obvious.

Oracle Bone Inscriptions, also known as "Wen Qi" or "Oracle Bone Inscriptions", refers to the writing on tortoise shells and animal bones at the time of divination in Shang Dynasty. This writing style is the oldest and relatively mature one in the history of China calligraphy.

Zhong Dingwen. Zhong Dingwen, also known as "Zhong Ding Style", "Bronze Inscription" or "Bronze Inscription", was written on bronze wares such as bells, ding, plates and reeds in Shang and Zhou Dynasties. Concave characters are paragraphs, convex characters are knowledge, and they are three-dimensional text expressions.

Oracle Bone Inscriptions, Zhong Ding, Shang and Zhou Dynasties all have relics, but as far as calligraphy features are concerned, Oracle Bone Inscriptions is the representative of the characters of Yin and Shang Dynasties, and Zhong Dingwen is the representative of the characters of Zhou Dynasty.

The evolution from Oracle Bone Inscriptions to Dazhuan is the first major reform of writing, which is unified and much more convenient to use. Big seal script is seal script, which is basically similar to Oracle Bone Inscriptions in form, including Shi Guwen and so on. The stone drum belongs to the State of Qin, and Guo Moruo has studied it and discussed it in detail, mainly because Oracle Bone Inscriptions and before Xiao Zhuan did not change the calligraphy style, but it is the oldest stone carving known in China.

Xiao Zhuan, or Qin Zhuan, was an official script issued to the whole country after Qin Shihuang unified the six countries (22 1 year ago). Li Si, then prime minister, called for a unified script. On the one hand, he abolished the ancient Chinese and regional traditional characters used by the six countries. On the other hand, he simplified and transformed the common script of Qin State (handed down from Zhou Xuanwang, which belongs to Da Zhuan) into Xiao Zhuan. For the sake of distinction, predecessors called Shu Zhuan Da Zhuan and Qin Zhuan Xiao Zhuan. Because the big seal script is a kind of inheritance and joint relationship, some words are similar and identical, and simplification is relative and integral. Because the feudal empire established by Qin Shihuang clearly stipulated that Xiao Zhuan was a universal script, and because Xu Shen collected all Xiao Zhuan in the Eastern Han Dynasty, the Shuo Wen Jie Zi compiled by him has been handed down to this day, Xiao Zhuan became an important intermediary tool for learning, understanding and spreading culture in ancient China. Biography has made great contributions to the popularization and development of China culture. The cultural relics handed down from the Qin Dynasty in Biography include Taishan stone carving, Langya platform stone carving, Langya mountain stone carving, imperial edict and Qin Quan lettering. It is said that they were all written by Li Si, which is also a standard example of seal script method. The font of Xiao Zhuan is extremely standardized, and there is a unified writing on the radicals. The brush strokes are euphemistic and tortuous, uniform in thickness, round and vigorous in style, balanced and symmetrical in white and Chinese, long and narrow in shape, and cheerful and stretched from top to bottom, giving people a sense of combining rigidity with softness, hearty and handsome. Oracle Bone Inscriptions is beautiful, Jin Wengui is muddy, Xiao Zhuan is soft, and the script is called Jian Peijun. The use of a pen in Xiao Zhuan "seems to be the strangest thing in common, but it is easy but difficult to achieve" (Wang Anshi's language). The pen for seal script also emphasizes various methods such as turning, stopping, stopping, pressing, lifting, lifting and holding. The turning point pauses, emphasizing the connotation without revealing it, and the rhythm of pressing, lifting, getting up and living is too expensive to trace.

Official script prevailed in Han dynasty, but seal script was less, mostly inscriptions and inscriptions. During the Three Kingdoms period, Cao Wei preserved a Three-body Stone Classic, in which Wu wrote seal script, which was quite successful. After that, real calligraphy (regular script) rose, and all calligraphy schools tended to regular script. Li was the only expert in seal script in Tang Dynasty, and there were more and more people in seal script in Song and Yuan Dynasties. There are also many books about seal cutting, seal printing and storytelling. The famous calligrapher Zhao Mengfu handed down inscriptions and seal scripts. Li Dongyang in Ming Dynasty and Deng in Qing Dynasty were great masters at that time. With their magnificent brushwork and elegant bearing, they borrowed from China's inscriptions and made innovations, which changed the rigid and thin jade rib pattern since the Tang Dynasty. Wu Xizai, Wu Daxiao, Fan Yongqi, Ding Foyan, Zhang and others in the late Qing Dynasty all had many inscriptions on seal characters. In addition, we can look at Kangxi dictionary, Shuowen dictionary, Qiushu dictionary and seal script dictionary published in recent years. When writing seal script in the Spring and Autumn Period, one end of seal script was pounded with rattan and dipped in pigment (there was no brush at that time), so there was no obvious brush stroke, and the strokes were all the same thickness. After Xiao Zhuan became popular all over the world, it gradually showed its disadvantages in writing. Because the strokes of seal script are more complicated, it is more troublesome to write. It is said that Cheng Miao, the jailer at that time, was imprisoned for his crimes. He simplified the strokes and structure of the seal script, and changed the strokes of the seal script into square folds. It's easy to write, and it can be faster.

Before the emergence and maturity of regular script, official script was used from Qin Dynasty to the Three Kingdoms after the Western Han Dynasty. But its shape changes and beautifies from time to time. The official script of the Western Han Dynasty still maintained the legacy of the Qin Dynasty, especially in the late Eastern Han Dynasty, which tended to be neat and exquisite. The knot is flat, and there are waves (Si in Chinese characters) in the strokes, forming the basic form. From Jin and Tang dynasties to modern times, although all kinds of characters, especially regular script, prevailed, official script was still widely circulated. It is precisely because of the wide variety, diverse styles and strong artistry of the official script structure in the Han Dynasty that it has always won people's love.

Han Li is a wonderful flower in the calligraphy art of Han Dynasty. The size, structure and brushwork of fonts are constantly changing, each with its own merits. Han Li occupies a very important position in the development of calligraphy. It inherited the style of seal script of the previous generation and created the style of regular script of Sui and Tang Dynasties in Wei, Jin, Southern and Northern Dynasties. There are many stone carvings left in the Han Dynasty, which are the precious heritage of China's calligraphy. . In addition, there are many Han Dynasty inscriptions and inscriptions unearthed at present, mostly eulogies. In terms of the size of the characters, the biggest one is jumping over mountains and cliffs in Zhejiang, and the characters are bigger than the ruler; The smallest is "Yang Sanzhi", and the inscription is divided into three or four parts. In addition, the ink on the residual stone and Han bamboo slips also shows Han Li's brushwork and style.

China's calligraphy developed into official script and entered an innovative stage. Compared with the rigid official script, the shape of Xiao Zhuan changed from long and narrow to flat, the strokes changed from symmetrical arc-shaped pens to straight pens with thick and steep gestures, and the twists and turns changed from continuous circles to square corners with broken pens, so the pictographic meaning of characters mostly disappeared. The formation of official script laid the foundation for later cursive script, regular script and running script, and opened up a broad road for the popularization of Chinese characters and the development of calligraphy.

People usually call the early official script "Qin official script" or "ancient official script", which shows that it still retains the meaning of seal script. The bamboo slips of Qin Tomb in Shuihudi, Hubei Province are the representative works of "Guli". Cursive script includes Cao Zhang and Cao Jin, each with its own influence and genre.

Early cursive script evolved from official script and was named "Cao Zhang". It is generally believed that it is a simpler style than official script, and it is used to write chapters or articles of association. Cao Zhang changed Li Shu's writing style, which was horizontal, flat and vertical, and his pen was intermittent, and became a font with round rotation, alternating thickness and shape inspection. There is also a wave on the right side of the word, which is the characteristic that it retains the official meaning and is different from the current grass.

According to legend, Cao Zhang was created by You in Huangmenling during the Han and Yuan Dynasties, and it has been passed down to this day with its "urgent chapter" (book passbook, etc.). ), later generations called it "Cao Zhang" because of its "chapter" (predecessors said "grass" also refers to grass creation). There is also a saying that Zhang, the emperor of the later Han Dynasty, liked cursive script. When playing this chapter, he was told to write in cursive script, so he called it "".

There is an explanation that "there is a cursive script in Han Dynasty" in Xu Shen's Preface to Shuowen. Wei Heng's Four-body Calligraphy also said: "There is a cursive script in Han Xing, and I don't know who the author is." The words of the above scholars illustrate the relationship between Cao Zhang and official script and the creation time from different angles.

As for the origin of the name "Cao Zhang", it can also be considered that "Cao Jin" came into being late, and the former "special" cursive form was called "Cao Zhang" for the difference. It seems that the ancients called it "koi fish" in regular script, and the official script between Qin and Han dynasties called it "Guli"; Li Si's seal script is used, and the seal script is called "Da Zhuan". So the name "Cao Zhang" comes from "JiZhang", which is easy to explain.

Any writing style must experience natural gains and losses, which is an inevitable phenomenon in the development of fonts. It was circulated among the people, perfected and finally finalized. So in a way, it can't be created by one person. At most, someone has a systematic arrangement, which can only be called someone's "synthesis".

Cao Zhang's application is to dissolve the official script and simplify it. As for using a pen, I still followed the brushwork of some official scripts. Especially at the end of the painting "Si", this is very obvious. Other strokes are basically the embryonic form of later running script, and many characters have been intertwined with (even silk) strokes, which has created the continuous brushwork of cursive script, created conditions for the transition from official script to regular script, and played the role of bridge and media.

Zhang Zhi's Cao Zhang is the most famous in the later Han Dynasty, and today's Cao Cao is also evolved from him. He writes quickly because he is good at writing. Zhang Huai's 26 books broke: "The book of Cao Zhang, the difference of words, Zhang Zhi changed into grass, increasing its flow rate." Pulling out the bud and connecting it up and down is the end of each word, but it is the beginning of the next word ... "This paper expounds the difference and connection between this grass and Cao Zhang.

The brushwork of Cao Zhang's official script, such as the horizontal direction is still up, the left and right waves are clear, and the round pen and some lingering bands are common in today's official script. That is, the luck method of "qi has it, and the law also makes it turn". In short, when writing, it should be as simple as a plum, and the brush strokes will rotate the grass that appears. This is Cao Zhang's most basic brushwork. "Continued Book Spectrum" said: "Cursive scripts are generally taken from Zhang Zhi, Huang Xiang, Suo Jing and so on. And Cao Zhang is disintegrated and writing is active. " It is pointed out that writing should be correct, rather than flying like this grass to seek balance by evil. The brushwork has the origin of official script and the artistic conception is simple.

According to legend, the origin of modern grass was changed from Cao Zhang by Zhang Zhi in Han Dynasty. At that time, calligraphers admired Zhang Zhi and called him "the sage of grass".

Because this kind of grass evolved from Cao Zhang, it is the "source" of this kind of grass, so predecessors advocated that learning this kind of grass must start from learning Cao Zhang, learn the grass method first, and master its laws. Now it seems that you don't have to learn from Cao Zhang to master the rules of cursive script. It is very convenient for Han Daoheng in Amin era to write "Song of Grass Rhyme". He wrote the differences between the main radicals, usage and radicals in a five-character phrase, and made clear some rules of cursive structure and brushwork, as well as block letters, which were easy to remember, such as "rhyme" and "Yan". When the two radicals are different, use "one point is water, and empty selection means saying". Another example is the structural characteristics of Shuo Zi. Take "shame" as an example, that is, "shame to see sheep tread the field", that is, the word "shame" consists of the sheep above and the field below. Although this post can't cover everything, it can completely introduce people.

From the Han Dynasty to the Tang Dynasty, it is said that this kind of grass originated from Zhang Zhi, but because of its different styles, it has its own characteristics and factions. Physically, predecessors roughly divided it into three different styles.

First of all, there are the big grass and wild grass schools represented by Zhang Zhi, Zhang Xu and Huai Su, which are characterized by continuous momentum and bold brushwork. The ancients called Zhang Zhi's cursive script "a book", which means to write continuously like strokes. His cursive script does not run through, but we can all see the relationship between before and after and the spirit of consistency.

There are two kinds of posts written by Zhang Xushi from Zhang Zhi and Zhang Xu in Ge Tie, which are similar to Zhang Zhi in brushwork and structure. Zhang Xu, a native of Wu in Tang Dynasty, was good at cursive writing and addicted to alcohol. Every time he was drunk and called to go crazy, he wrote, or dipped his hair in ink. When he woke up, he thought he was a god and couldn't get it back, so he was called "Zhang Dian" or "Cao Sheng" by the world. When literate in the Tang Dynasty, the world regarded Li Bai's poems, Fei Min's sword dance and Zhang Xu's cursive script as "three unique skills".

Ge Tieli Huai Su's post "A True Book Passes the Clock" is very similar in style to the two posts, but it is not quite the same as his famous post "Autobiography". The post of "self-narrative" is really a masterpiece of Huai Tie. During Japanese Prime Minister Tanaka's visit to China from 65438 to 0972, Mao Zedong received him and presented him with a hardcover autobiography of Huai Su.

Huai Su's word hides the truth, and there are four "preface to hiding the truth" in front of his autobiography. He is a native of Changsha, Hunan, and his original surname is Qian. Becoming a monk from an early age, the year of birth and death is unknown, probably in the middle of the Tang Dynasty. The self-report post is one of the most important works in China's calligraphy history, which is recorded in Zhang Bao to be visited, History of Books and so on. People belong to weeds and use the center for many purposes. The thickness of strokes has not changed much, and the brushwork of seal script has been innovated. Strong and tactful; In terms of lines and zigzag structures, the big, the small, the oblique and the positive echo each other, and they are unrestrained and smooth, all of which are wonderful works in cursive script. His posts, like Li Bai's poems, are a kind of classical romantic art, so they are full of national beauty, not blunt, but warm, cheerful and lively. For example, the water in the high gorge falls, and the momentum is particularly magnificent. Du Yan wrote poems in Qing Dynasty, calling them "crazy monks" and "grass saints". It is an excellent calligraphy art heritage worthy of future generations to learn and inherit.

Huai Su's great achievements are mainly the result of long-term hard study and practice. Directed by Yan Zhenqing, he went to Chang 'an, Luoyang and other places to observe some "short works". He created and developed himself on the basis of learning from his predecessors. According to historical records, he once made lacquer plates and boards, practiced them, rubbed them and even worn them out. He buried his bald pen and piled it into a mound called "Pen Tomb". For Huai Su, later calligraphers admired him and tried to imitate him.

In addition to the two posts mentioned above, there is also "Bitter Bamboo Shoots Post", which has been highly praised throughout the ages and has scribbled more than ten words, showing its spirit. The Inscription and Postscript of Haiyue in the Song Dynasty recorded that "Tang Priest Huai Su narrated himself, and Hangzhou Shen Shi once carved a edition". It can be seen that Huai Su's "Autobiographical Notes" was noticed by people at that time in the Tang and Song Dynasties, and it is also known that there was a great demand for calligraphy tablets at that time. In the Song Dynasty, Mi Fei, Nau and Xianyu also liked to make weeds.

Followed by Wang Xizhi and Wang Xianzhi's Wang Ti cursive script: they have five volumes of posts in Pavilion Posts, of which Wang Xizhi's three volumes (6 ~ 8) contain 159 posts, and the second volume (9 ~ 10)* * * presents 76 posts, most of which are cursive scripts. As far as cursive writing is concerned, the brushwork of the "two kings" is thinner, fresher and more beautiful than the two. There are only seventeen posts in Xihe (named "Seventeen Posts" because the first post has the word "Seventeen"). One is pure cursive script, which is Wang Xizhi's masterpiece and was collected in the Tang Dynasty. In addition, aunt posts, early moon posts and funeral posts are also vivid. Wang Xizhi reformed the legacy of cursive script at that time, changed the calligraphy style of Zhong You, which had great influence at that time, established his own style, and absorbed the folk style to create "Wang's cursive script".

Wang's and his son's calligraphy, especially cursive script, was widely circulated in later generations, which not only shocked the calligraphy world at that time, but also had a great influence in Chinese and foreign art circles. Wang Xizhi, a rich boy in the Eastern Jin Dynasty, studied under Zhong You's uncle Wang Kuang and later under Mrs. Wei. Wang Xizhi studied hard and studied hard. According to legend, he often scratches on his chest, so his clothes always break first. Because I practiced writing and washed the inkstone every day, I dyed the pond in front of the door black, and was called "Mo Chi" by later generations. This story also tells future generations that learning calligraphy well, like learning other skills, requires diligent study and hard practice. In addition, we should be open-minded, be good at finding problems and push our skills to a new height.

Xihe grass today was the most popular in the Southern Dynasties and the early Tang Dynasty. Monk Chen Sui Zhiyong is a descendant of Wang, and his "Grass Today" won the charm of Wang Xizhi the most. Emperor Taizong loved Wang Xizhi's calligraphy and collected it all over the country. Sun in the early Tang Dynasty, Xue in the Song Dynasty, Zhao Mengfu in the Yuan Dynasty and Ming Dynasty are all representative writers of this genre. When Tang Shi, a Japanese monk, came to China, he brought back this plant of Xi, which had a great influence on the development of Japanese calligraphy. Wang Xizhi was highly praised by Japanese book circles.

The cursive script he showed became popular after the prosperous Tang Dynasty. His duck's head pill stickers have been praised by all generations and regarded as rare treasures. Developed by Zhang Xu and Huai Su, it became a "weed". Yuan, Wei Xiao, Xian Yushu and others also like to make weeds. By the end of the Ming Dynasty, Fu Shan and Wang Duo had further developed, and "Wang Ti" became a common practice in bookstores.

Third, Zhiyong's money, Sun's Preface to Book Spectrum and so on. This school of cursive techniques is very organized, distinguishing words from words and not doing continuous actions at all. Dancing with pens and gestures is more suitable for beginners to learn, especially the preface to the book spectrum is more convenient for learning to write and imitate.

Most of the predecessors studied Cao Cao first, and then wrote Qian Wen Zi and Shu Puxu. Chase after the "two kings" again, write "Seventeen posts" and "Pavilion posts", and read more cursive scripts of Ming people (such as the ink of Zhu Yunming, Wang Duo, Huang Daozhou and Zhang Ruitu). It is said that for this reason, we can use macros cautiously, consider changes, and deal with cursive script endlessly.

Zhiyong was a member of Huiji of Chen Dynasty in the Southern Dynasties (legal name Zhiyong, surname Wang, according to legend, descendants of Wang Xizhi). He lives in Yongxin Temple and is a famous Zen master. His cursive writing is particularly good. After 13 years' service, I got a thousand words of calligraphy from this book and gave it to each temple in eastern Zhejiang. Book seekers, like this city, can't find a door. So he wrapped it in iron, and later generations had it. His self-made epitaph has the legacy of the word Wang, so the emperor often said: "Wisdom always gets the meat of the right army, and wisdom fruit (monk Sui Huiji, who is good at literature and calligraphy) gets the bone of the right army." It can be seen that although it has its own characteristics, it is still circulating in the blood of the king.

Sun, born in Tang and Chen, is a cursive writer. Since the Song Dynasty, he has promoted his book as "Nengpin". His book Shu Pu is very valuable, and Zhang Huaiguan, a native of the Tang Dynasty, gave it the highest evaluation, saying that it won the purport of calligraphy. His other work, Sun Jingfu's Ode to the Temple, was suspected to be forged by later generations. It looks very similar to other posts of Sun Guo Ting and can be used as a reference.

It is also worth mentioning Mi Fei's Nine Cursive Poems, Song Ke's Poems on a Tour in Du Zimei Zhuang, Jin Tongxian's Poems on Han Songs, Kang Likuang's Poems on Fishing Songs, Zhu Yunming's Poems on Five Clouds in Li Taibai, Poems on Red Cliff, and Wen Zhiming's Preface to Wang Tengting. In addition, Yue Fei's Liezi is also very popular with people.

In modern times, Lin Sanzhi is known as "the sage of grass". When Qi Gong saw Lin Sanzhi's cursive script, he bowed three times. Suginami Aoyama, the leader of Japanese calligraphy, praised Lin Sanzhi's cursive script: "The legacy of the sage of grass is here." The representative works of Lin Sanzhi's cursive script include Sino-Japanese Friendship Poems, Xu Yao's Comments on Huai Su's Cursive Poems and His own Poems. Lin Sanzhi's cursive script is called "forest body". Running script is a cursive script or simplified form developed on the basis of regular script (such as regular script, official script and seal script), and it is the most common writing form between regular script and cursive script. It is generally believed that running script began in the late Han Dynasty (created by Liu Desheng, a native of Yingchuan) and flourished in the Eastern Jin Dynasty. It has both the rules of regular script and the flow of cursive script. The fonts are placed neatly, and the methods of regular script are more than cursive script, which is called "running script"; Writing fluency, cursive calligraphy is more called "cursive script" than regular script. It is easier to write than regular script, easier to identify than cursive script, and is widely used. Zhang Huaiguan in the Tang Dynasty wrote in the Book End: "Running script is just a fake (change) of official script, and its name is simple and popular, so it is called running script." Wang: "After the Jin Dynasty, most calligraphers used calligraphy, and the famous Zhong Yuanchang (Yao) was good at calligraphy." Later, Wang's children in the Eastern Jin Dynasty were good at calligraphy, among which Wang Xizhi and his son were the most famous. Preface to Lanting is Wang Xizhi's masterpiece, and later generations regard it as "the best running script in the world". Emperor Taizong respected Wang the most and loved Preface to Lanting the most. He sent Xiao Yi to defraud the original Preface to Lanting from the eloquent monk. Feng Chengsu was ordered to copy it in the south of the city and divide it into two parts. After Taizong's death, he was buried with the original. The calligraphy of Preface to Lanting handed down from ancient times has a long history because its content and form are rich in the style of the times. Among them, the combination of loving nature, describing nature and frank and free natural calligraphy forms embodies the spirit of getting rid of Confucianism and advocating literary consciousness in the Eastern Jin Dynasty. This is the reason why Preface to Lanting is vivid and can become the best in the world. Jin Dynasty was a prosperous period of calligraphy. Since the Jin Dynasty, there is no one who is good at calligraphy but writes calligraphy. In the Book of the Pavilion of Chunhua, such as Emperor Wu of the Western Jin Dynasty (Sima Yan) and Xuan Di (Yi), Emperor Yuan of the Eastern Jin Dynasty, (Zhao), Emperor Kang (Yue), Emperor An (Pi), (Xian) and Wu (Yao) can all write well, and ministers Dao and Geng Liang are good at writing. Popular up and down, so running script forms a big system in calligraphy art.

In the Tang Dynasty, Zhang Huaiguan evaluated the calligraphy of previous dynasties before the Tang Dynasty. In his famous Narration, there are 25 people listed as "gods", including Wang Xizhi, Zhong You, Wang Xianzhi and Zhang Zhi. Wang's running script has been called "Super Clock" and praised as "Book Sage". His works, led by Preface to Lanting, are recognized by all calligraphers in ancient and modern times. There is also Wang Xizhi's running post "Preface to Huai Xi Sheng Jiao", which is also very famous and has been imitated by many people.

The ink of running script is the oldest in the Western Jin Dynasty. At that time, the running script and regular script were relatively prosperous and mature. Qing Qianlong commented on the golden characters, especially Wang Xizhi's Preface to the Lanting Pavilion, saying: "The wonderful traces of the ages and the exquisite methods of ancient and modern times are unparalleled." The writing method mentioned here reflects the writing method of running script. Obviously, from ancient times to modern times, regular script and running script should be far from the famous Jin Dynasty.

Wang Xizhi, an innovator of calligraphy in the Eastern Jin Dynasty, had a unique creation in calligraphy art. The calligraphy style of Wang School not only shocked the calligraphy circle at that time, but also had an impact on later generations and Chinese and foreign art circles. Not only is regular script well written, but official script, running script and Cao Zhang are all distinctive. His Preface to the Orchid Pavilion has been lost, but now all the manuscripts are circulating in the world. The closest thing to the original is a copy of Feng Chengsu, which is said to be inked with a double hook. For Wang Xizhi's brushwork, this post does not lose its true colors. In addition, Ou Yangxun, Yu Shinan, Chu Suiliang and others also have their own manuscripts, which are inevitably different from the original.

"Preface to Lanting" is 327 words, with beautiful composition and beautiful brushwork. Among them, there are 20 words "Zhi" and 7 words "No". Other words such as "love", "bosom", "long" and "hui" all have repeated words, but they are written in different ways, especially "zhi" with few strokes. Mi Fei, a great calligrapher in the Song Dynasty, said in a poem: "The word' zhi' is the worst." . You can learn a lot by studying hard.

In addition, Yan Zhenqing's Calligraphy by My Nephew Ji Ming in the Tang Dynasty was once rated as the second running script in the world by the calligrapher Xian Yushu in the Yuan Dynasty. This 234-word post is straightforward and bold. His running script, like regular script, also shows a clean, full, neat and dense style. Moreover, in its original photocopy, the dry pen and its related places can be clearly seen, which can be used for people who study running script to carefully observe the process of running pen and the wonderful change of nib at the turning point. In addition, Wang Xizhi's burial post is also a famous treasure.

Since Wang Xizhi and Wang Xianzhi and his son, calligraphers of later generations have attached great importance to running script and even used this font to write tablets. From the time when Emperor Taizong wrote The Name of Hot Springs, Li Yong's monuments were also mixed, such as Yuelu Mountain Temple Monument and Yunhui Monument. In the Song Dynasty, great calligraphers such as Su, Huang, Mi and Cai were all famous for their running scripts, many of which were handed down. Zhao Mengfu and Dong Qichang were great calligraphers in Yuan, Ming and Qing Dynasties, and their works were loved by the world.

Judging from the history of calligraphy, running script gradually broke away from block letters in the Jin Dynasty and became a widely used handwritten character, which is still widely used today. Tang Sun Guoting said in the Book Spectrum: "It is important to run a book when the trend is timely." It shows that running script is more practical. It is not only easier to write than regular script, but also easier to identify and transmit than cursive script. Because the running script is between cursive and cursive, it is flexible and changeable. With the help of cursive script, the artistic effect is exerted by brushwork, breaking through the shackles of cursive script. The two are organically combined to form a new body full of vitality. Running script has the advantages of various styles, which are superior to other styles.

Running script is connected with strokes, and the hairspring implicated between strokes is cursive brushwork, but regular script brushwork increases the dignity of running script. For most people, learning running script well is very practical. Regular script is "real script", "official script" or "regular script" The ancient name "Kaili" or "Jinli" was originally made by the people in the Western Han Dynasty. It is considered to be an elegant work, with many traces of official script. Regular script evolved from official script (including official script), which began in the Eastern Han Dynasty and has been popular ever since.

During the Han and Wei Dynasties, regular script gradually matured, and a lot of brushwork by Cao Zhang (Cao Li) appeared. The Eastern Jin Dynasty was the heyday of regular script, and the earliest existing regular script was only the works of Zhong You and others in the Three Kingdoms period. In addition, there was "Langbei of Wu Zhigu" and so on. Font strokes are similar to regular script, and some have traces of Cao Zhang. It should be noted that cursive script does not exist after regular script. Just like simplified Chinese characters, cursive script is much simpler and easier to learn.

When it comes to regular script, we can't help but talk about Wei Ti. It is not only a kind of regular script, but also the basis for regular script to mature. In ancient calligraphy, it is as important as seal script, that is, the calligraphy of stone carvings, cliffs, statues and epitaphs in the Northern Wei Dynasty. Wei Ti basically got rid of the official law, a lot of body and posture, vigorous brushwork, and abrupt attitude. Each branch has its own charm, but it is mainly dignified.

Emperor Taizong liked calligraphy very much, admired Wang Xizhi's calligraphy (mainly cursive), and tried his best to collect the original calligraphy and notes of world celebrities and calligraphers in past dynasties. It is said that Wang Xizhi's famous copybook "Preface to the Lanting Pavilion" was taken to the grave by him and has not been found so far. Another famous post of Wang Xizhi, Preface to the Holy Teaching, was handed down from generation to generation, but it was bought and integrated by his descendant Huai Ren. The attention of rulers and literati provided conditions and soil for the development of calligraphy, and the number and achievements of calligraphers in the Tang Dynasty were rare in the world. In recent years, many famous inscriptions have been found in the investigation of Zhaoling of Emperor Taizong of Tang Dynasty, which is called "the gathering place of calligraphy in Tang Dynasty".