In ancient China, lower regular script was the basic means for literati to take imperial examinations, study in politics, and write essays. It was also the most commonly used and practical font. Therefore, many calligraphers in the past dynasties were able to write lower regular

In ancient China, small regular script was the basic means for literati and officials to take imperial examinations, take political examinations, study and write, and it was also the most commonly used and practical font. Therefore, many calligraphers in the past dynasties were able to write small regular script, and there were many who were particularly good at it. The small regular script is like the blooming flowers among the flowers, and like the twinkling stars in the sky, dotting the long river of Chinese calligraphy. Looking at it now, the style of regular script is ancient, elegant, quiet, quiet... Although each has its own emphasis, you can get a certain charm when you taste it, and it brings us indescribable aesthetic pleasure.

Han, Jin, Southern and Northern Dynasties

Zhong Yao《 Declaration Table》

Zhong Yao (151-230), whose courtesy name was Yuan Chang, was born in Changshe, Yingchuan (now Changge County, Henan Province). He was born in a family of famous scholars in the late Han Dynasty. He was an official To Taifu. Together with Zhang Zhi in the late Han Dynasty, Wang Xizhi in the Eastern Jin Dynasty, and Wang Xianzhi, he is collectively known as the "Four Sages" in the book. It has all styles of calligraphy, completed the transformation from ancient official script to regular script, created regular script, a new style of calligraphy, and enjoyed a high status in the history of calligraphy. Among the works, "Declaration Form" best reflects his small regular script style, which has a profound influence on later generations.

The composition of this post is vertical and horizontal, and the momentum is broad. The size, weight, regularity, width and width of each line of words are well-proportioned, which is extremely natural and reflects a vigorous, simple, calm and ancient artistic style.

Wang Xizhi's " Le Yi on "

Wang Xizhi (303-361), courtesy name Yi Shao, was a great calligrapher in the Eastern Jin Dynasty. He rose to the rank of general of the Youjun Army and was known as Wang Youjun in the world. His small regular script is mainly based on Zhong Yao's style, and he has made new achievements in perfecting regular script, enriching brushwork, and beautifying glyphs. His representative works include "Le Yi Lun", "Huang Ting Jing ", "Praise to the Portrait of Dongfang Shuo" and "Stele of Filial Daughter Cao E". wait.

"Le Yi Lun" basically gets rid of the traces of official script and has complete regular script rules. The pen is calm and restrained, solid and vigorous; the dots are vivid, delicate and rounded. The overall style shows the beauty of harmony and grace, which is dignified and calm, round and straight, with movement and stillness.

Wang Xianzhi " Luo Shen Fu Thirteen Lines "

Wang Xianzhi (344-386), courtesy name Zijing, the seventh son of Wang Xizhi, was good at calligraphy in the same vein as his father, and was also known as the "Two Kings". There is a small regular script work "Luo Shen Fu Ten" "Three Elements" handed down from generation to generation.

Wang Xianzhi's "Luo Shen Fu" pushed the art of regular script to a new peak, and was honored by later generations as "the best small regular script in the world" and "the most regular small regular script", marking the complete maturity of regular script art. From the perspective of its gentle, delicate, majestic and beautiful style, "Luo Shen Fu" quite captures the key points of his father's ideas, but it is also outstanding in spirituality and successful in innovation. It also pays attention to the beauty, elegance and sparseness of the work. It is already a masterpiece. A fully mature work in regular script.

Sui and Tang

Ouyang Xun "Heart Sutra"

Ouyang Xun (557-641), courtesy name Xinben, was born in Tanzhou Linxiang (now Changsha, Hunan). He was the first to learn from Erwang, and inherited the characteristics of official script and regular script from the Wei, Jin and Six Dynasties. His penmanship is bold and powerful, his method is rigorous, and he has a unique style, which is known as the European style. He, together with Yu Shinan , Chu Suiliang , Xue Ji , are known as the four families of the early Tang Dynasty. Regular script developed into the Tang Dynasty and reached perfection, becoming a model for later generations to learn from. Ouyang Xun was the earliest representative of regular script.

"Heart Sutra" is Ouyang Xun's representative work in regular script. The writing is sharp, hard and soft, the words are neat and dignified, and the theory and method are both comprehensive.

Yu Shinan's "Preface to the Theory of Destroying Evil"

Yu Shinan (558-638), courtesy name Boshi, was born in Yuyao, Yuezhou (now Zhejiang). He was granted the title of son of Yongxing County, and was later called "Yu Yongxing". He was a master of calligraphy from the Sui Dynasty to the Tang Dynasty. Together with Ouyang Xun, Chu Suiliang and Xue Ji, he was known as the "Four Calligraphers of the Early Tang Dynasty". His calligraphy is elegant and elegant, with a very high style.

"Preface to the Theory of Destroying Evil" is Yu Shinan's representative work in small regular script. The brushwork is rich and round, with both square and round shapes, soft yet strong, and wins with rhyme. What is particularly worth mentioning is that the stele has formed a layout system in which the line spacing is wider than the letter spacing, giving people a refreshing artistic enjoyment.This kind of compositional characteristics became more and more exaggerated in the Five Dynasties Yang Ningshi and the Song Dynasty Lin Bu . A feeling of desolation came to the face, and the dull feeling changed the dense and dense atmosphere of regular script since the Tang Dynasty.

Chu Suiliang's "Imitation of Wang Xizhi's Le Yi Lun"

Chu Suiliang (596-659), courtesy name Dengshan, was born in Qiantang, Zhejiang (now Hangzhou City). He is well versed in literature and history and is good at calligraphy. Chu Suiliang was the first calligrapher of the "Two Kings". Later, he was influenced by Ouyang Xun and Yu Shinan. He incorporated the strengths of many calligraphers and established his own family. The calligraphy has both square and round shapes, and the structure of the regular script is slightly square. Based on the elegance and strength of the calligraphy of the "Two Kings", the steepness of the European calligraphy and the beauty of the Yu calligraphy are combined into one, forming a multi-strength, strong and muscular, thin, strong and spiritual calligraphy. Unique writing style.

Zhong Shaojing " Ling Fei Jing "

Zhong Shaojing (659-746) was a native of Ganzhou, Qianzhou, Tang Dynasty (now Ganzhou, Jiangxi). His character can be big, and he and Zhong Yao are called "big bell" and "little bell". The two kings of calligraphy, Chu and Xue Ji. The handwritten writings handed down from ancient times include "Ling Fei Jing" and so on.

"Ling Fei Jing" has won the favor of the "Two Kings" with its strong writing style, exquisite knotting, vivid charm, and excellent form and spirit. It is a classic model for future generations to learn from regular script. His style can contain ancient interest in elegance, the structure can be reunited in stretching, and his pen is good at showing changes in plainness. He starts the brush against the front, moves in the center, and returns to the front to fully express the characteristics of Tang calligraphy.

Liu Gongquan "Diamond Sutra"

Liu Gongquan (778-865), courtesy name Chengxuan, was born in Yaoxian County, Shaanxi Province. He is good at calligraphy in seal script, cursive script, Zhen and Xing script, and is particularly dedicated to regular script. He is the most famous calligrapher in the late Tang Dynasty. He is called "Yan Liu" together with Yan Zhenqing , and Fan Zhongyan is praised as "Yan Jin Liu Gu". There are many book steles, among which " Mysterious Tower Stele ", " Shence Army Stele " in large regular script, "Diamond Sutra" and "Guilin Temple" in small regular script are the most famous.

"Diamond Sutra" is Liu Gongquan's early work. The characters are not large but the writing style is deft and strong. Although it is close to the facial expression method, it obviously abandons the "silkworm head and wild goose tail" writing style and integrates the regular script of Wei, Jin and early Tang Dynasties. It is mixed with the bone strength of Beibei , so on the surface it looks normal and tense, but if you look closely, it is full of changes. There is a clear and graceful spirit in the square energy, the rhythm is lively, very dynamic, and the overall law is strict and rich. Temple weather.

Song Dynasty

Fan Zhongyan's "Praise for Taoism"

Fan Zhongyan (989-1052), courtesy name Xiwen, was a famous politician and writer in the early Northern Song Dynasty. He is good at poetry, prose, and calligraphy, and his ideas are consistent with his political reform requirements.

"Tao Fu Zan" is written with strong and clear strokes, with solid strokes and no sloppiness. This calligraphy is clear and vigorous, but has little meat. The characters are square and straight, and the character is strong and strong. It has the style of writing in Wang Xizhi's "Le Yi Lun". This is the characteristic of Fan's calligraphy. People at the time called it "gentle and vigorous writing". , both beautiful and admirable."

Su Shi "Huang Ting Jing in small regular script"

Su Shi (1037-1101), a famous writer, calligrapher and painter in the Northern Song Dynasty, with the courtesy name Zizhan and the name Dongpo Jushi, was one of the Eight Great Masters of the Tang and Song Dynasties. He is good at running script and regular script, and his writing style is full of flesh and bones, natural and ups and downs, with a vast and majestic atmosphere, and has the artistic beauty of "the shape of ancient trees and strange rocks". His calligraphy achievements were highly praised by later generations. "Huang Ting Jing" in small regular script was written by Su Shi when he was 64 years old. It is a masterpiece among his small characters.

Mi Fu "Elegy to the Queen Mother"

Mi Fu (1051-1107), Zi Yuanzhang, No. Xiangyang Manshi, etc. His ancestors lived in Taiyuan, later moved to Xiangyang and settled in Runzhou. During the Xuanhe period, Wai Lang, a member of the Ministry of Rites, was moved to the palace, and was known as "Minangong". He is good at poetry and prose, good at calligraphy and painting, good at identification, and good at collecting. His calligraphy has the style of Wang Xian, and many of his calligraphy have been handed down from generation to generation.

The calligraphy of this word is written in regular script. The pen is very precise. The pen is not only round and sharp, but also flexible. Therefore, the strokes are vigorous and the mood is lively, but it is not as strict as Tang Kaiscript . It can be said that it is the best in small regular script in the Song Dynasty. Absolutely.

Cai Xiang "Tea Record"

Cai Xiang (1012-1067), courtesy name Junmo, was a famous calligrapher in the Song Dynasty. He was as famous as Su Shi, Huang Tingjian and Mi Fu. Later generations were called the four major calligraphers of the Song Dynasty.Cai Xiang's calligraphy art is relatively comprehensive, and he is accomplished in running, cursive and regular script. The regular script is solemn and steady, the running script is gentle and graceful, and the cursive script uses the Feibai method, especially the small regular script. Su Shi said: "Jun Mo's small characters are the best in the Song Dynasty." Zhu Xi called his small characters the best in the Song Dynasty.

There are more than a thousand characters in small regular script in this book, but throughout the whole text, there is not a single tired pen, which is quite similar to the regular script of the two kings. The calligraphy is strong and strict, with flowing hair, flexible and calm. It is an outstanding representative work of Cai Xiang's calligraphy art.

Huang Tingjian's "Diamond Sutra"

Huang Tingjian (1045-1105), courtesy name Lu Zhi, also known as Valley Taoist, also known as Fu Weng, was one of the "Four Scholars of Sumen". Huang Tingjian specializes in writing, poetry, and calligraphy. His calligraphy is based on "痗 Crane Inscription" and Tang Kai Yuxu. The biggest feature is that he emphasizes "rhyme" and has a steady manner. Self-exaltation.

Jiang Kui "Postscript on the Nanny Posted by Wang Xian"

Jiang Kui (1163-1203), also known as Yaozhang, also known as Baishi Taoist. A native of Poyang, Jiangxi Province, he has never been an official throughout his life, is erudite and talented, and knows everything. He is good at music and rhythm, especially poetry. The calligraphy of Gongshu is based on the brushwork of the Wei and Jin Dynasties. The brushwork is vigorous and mature, and it washes away the secular world.

Jiang Kui's calligraphy works are extremely rare, and " Postscript to Wang Xian's Nanny Post " is his representative work. The whole text is written in strict regular script and has a natural and elegant attitude.

Zhang Jizhi "Buddhist Sutra" volume

Zhang Jizhi (1186-1263), courtesy name Wenfu, was born in Liyang (now He County, Anhui Province) and was the nephew of the patriotic poet Zhang Xiaoxiang. The official arrived at Sinong Temple. His calligraphy became famous all over the world at the end of the Southern Song Dynasty, and even the Jin people in the north did not hesitate to spend a lot of money to buy it. He studied calligraphy under Ouyang Xun and Chu Suiliang, and later under Mi Fu. He became a famous calligrapher by himself. He was good at writing large characters and writing plaques as well as small regular scripts. His lines and regular script are clear and powerful. Zhang Jizhi's regular script works are characterized by clear and vigorous brushwork, precise structure, elegant and vigorous writing, carefulness and thickness, and great originality.

This "Buddhist Relics Sutra" is a famous regular script written by people from the distant Jin and Tang dynasties. They relied on strength to win, made good use of side attack, were agile and peaceful, and graceful and graceful. The predecessors said that this work is "like a dwarf pine tree with a low cover, whirling and lovely".

元

Zhao Mengfu "The Biography of Ji An"

Zhao Mengfu (1254-1322) was a famous calligrapher and painter in the Yuan Dynasty. All kinds of calligraphy are exquisite. His achievements in regular script are very high, and together with Yan, Liu and Ou, he is known as the four masters of regular script. His lower regular script "Tao Te Ching" and "Ji An Zhuan" are quiet and beautiful, and are a good model for learning lower regular script.

"The Biography of Ji An" has exquisite calligraphy, steep and majestic shapes, and a clear and elegant style, which is quite a legacy of the Jin and Tang Dynasties. The brushwork is strong and round, the size of the knots follows the shape, and the traditional small regular script method of vertical rows and horizontal rows is adopted. It is well-proportioned and elegant in shape, making people not feel rigid and cramped when appreciating it.

Ni Zan "Picture of Cold Pines in a Quiet Stream" is a reference to

Ni Zan (1301-1374), named Yunlin, Ziyuan Town, was born in Wuxi, Jiangsu Province. He was a famous painter in the late Yuan Dynasty. Together with Huang Gongwang, Wuzhen, and Wang Meng, he was known as the "Four Yuan Painters" and had great influence. Ni Zan's calligraphy was learned from Wang Xianzhi in the early days, and then from Zhong Yao. His calligraphy is mainly found in his paintings, inscriptions and postscripts, etc., and is mostly in small regular script. It is ancient and innocent, lively and smooth, with elegant charm. It can be said that he "reached immortality without eating the fireworks of the world". That’s it.”

"Picture of Cold Pines in a Secluded Stream" was painted in 1374. The small regular script in the painting is very exciting, the brushwork is fresh and vigorous, simple and diluted, and the characters are used very casually, some are large and some are small, wandering outside the rules. The whole article is rigorous and subtle, dignified and steady, showing the author's relaxed and light feelings, and at the same time complementing the painting of the quiet stream and cold pines.

Ming Dynasty

Song Ke "Seven Princesses"

Song Ke (1327-1387), courtesy name Zhongwen, alias Nangong, was born in Changzhou (now Wuxian County, Jiangsu Province). At that time, it was called the "Three Song Dynasties" together with Song Guang and Song Sui. He was good at Zhangcao, and his cursive script was praised as "the best in the country" at that time; his craftsmanship in small regular script was not restricted by the fashionable Zhao Mengfu.

There are not many calligraphers in the Ming Dynasty who were good at small regular script. The most famous one is Song Ke's "Qi Ji Zhi". His small regular script can give a glimpse of the Jin and Tang Dynasties. The calligraphy style is quaint and elegant, and the changes are random. It eliminates the flat style and enlightens the Ming Dynasty. The first of its kind in small regular script.

Wen Zhengming "Hou Chibi Fu"

Wen Zhengming (1470-1559), named Bi, courtesy name Wenming, also known as Hengshan, was a famous calligrapher and painter in the Ming Dynasty. In terms of calligraphy, together with Zhu Yunming and Wang Chong, they are also known as the "Three Masters of Wuzhong". Wen Zhengming is famous in the history of calligraphy for being good at all styles, especially running script and regular script. His small regular script is elegant and elegant, his rhythm is harmonious, and his structure is strong and harmonious with his painting style. It is said that he still wrote in small regular script when he was 80 years old. Later generations called him "the best in Ming Dynasty" in small regular script. There are many works in small regular script that have been handed down from generation to generation, including "Li Sao Jing", "The Biography of Laozi", "Front and Back Chibi Fu", "Shi Shi Biao", "Ten Records of the Cao Tang Dynasty" and " Thousand Character Essay". 》etc.

This volume is elegantly structured, written with great care and attention to detail. The brushwork is extremely proficient, and the sharp edge is vivid. Watch carefully the posture of each character, all of them have the posture of jade immortal bones and the transcendent wind spirit.

Wang Chong's "You Baoshan Collection"

Wang Chong (1494-1533), a native of Suzhou, Jiangsu Province, was originally named Luren, and later changed to Luji, and his nicknames were Xuanweizi, Yayishanren, etc. His calligraphy is in regular script, especially in small regular script, which is the most outstanding, mainly due to Yu Shinan. He applied this gentle and subtle brushwork to the quaint and simple regular script, forming a special look that gives people an ethereal, simple, tranquil and transcendent feeling.

This is his representative work in small regular script, which has an ancient atmosphere and elegant style. It is a manifestation of his integration of regular script from various schools of Jin and Tang Dynasties and his move away from the Tang style and towards the ancient style of the Wei and Jin Dynasties.

Dong Qichang "The Monument of Filial Daughter Cao E"

Dong Qichang (1555-1636), courtesy name Xuanzai, also known as Sibai and Xiangguang Jushi, was a native of Songjiang, Shanghai. He was the most influential and outstanding calligrapher and painter in the late Ming Dynasty. Dong Qichang's calligraphy is most accomplished in cursive script. He is also quite proud of his regular script, especially small regular script. His calligraphy style is elegant and ethereal, and his elegance is self-sufficient. The strokes are round, strong, elegant, plain and simple. Calligraphy, which dates back to Dong Qichang, can be said to be the culmination of ancient techniques.

Zodiac Zhou "Book of Filial Piety"

Zodiac Zhou (1585-1646), also known as Xuandu and Geng Youping, was born in Zhangpu, Fujian, and was known as Mr. Shi Zhai. Learning from ancient to modern times. He is good at astronomy and calculus, and his writings are richer. His style of writing is high in the world. Huang Daozhou's calligraphy is famous for his small regular script and running cursive script. The small regular script is unique, with simple and bright brushwork, and is full of fresh energy. Wang Wenzhi commented that his "regular style and charming style are as good as those of King Zhong". His representative works include "The Classic of Filial Piety", "Yin after Death", "Book of Poetry and Han", "Book of Cao Yuansitui Fu's Wenzhi", etc.

This small regular script "The Classic of Filial Piety" is simple in writing, broad in knots, soothing in momentum, and charming in its solemnity.

Wang Duo "Bamifu Xingshu Tianma Fu"

Wang Duo (1592-1652) had the courtesy name Juesi and the other character Juezhi. He is fond of ancient times and is knowledgeable, and has made achievements in poetry, calligraphy and painting. He is especially famous for his calligraphy, and is known as the "Wang Duo of the Magic Pen" in the world. His calligraphy is as famous as Dong Qichang, and he was known as the "King of South, Dong and North" in the late Ming Dynasty. Wang Duo is good at cursive writing, and his brushwork is magnificent, vigorous, free and easy, dripping and joyful. His small regular script is bold and steady, with structure and structure, and changes in composition. It is simple and simple yet vigorous and sophisticated. It is indeed a generous act.

The characters in this book are very long. Overall, the characters are scattered like stars in the sky, which is very full of the personality of the writer.

Ni Yuanlu "Family Letter"

Ni Yuanlu (1593-1644), whose courtesy name was Yuru and whose name was Hongbao, was from Shangyu, Zhejiang. Able to write poetry and calligraphy. He is good at cursive calligraphy and is also good at regular script. His calligraphy is well-equipped with theory and method, and his form and quality are consistent. He is known as the "three wonders" and "three feet", namely, the pen is extraordinary, the characters are extraordinary, the pattern is extraordinary, the rhyme is sufficient, the momentum is sufficient, and the meaning is sufficient. His works in small regular script are relatively rare, and "Family Letter" is the representative one. His writing style is thick and simple, giving a direct glimpse into the Jin and Tang Dynasties, and his profound skills. Extraordinary.

Qing

Fu Shan "Thousand-Character Classics in Small Regular Script"

Fu Shan (1607-1684) was a scholar, poet, calligrapher and painter in the late Ming Dynasty. His calligraphy was widely involved in various schools and styles. He was best at cursive script and had the most distinctive characteristics. In particular, the "continuous grass" created is more innovative. Fu Shan's running and regular scripts mostly reflect the characteristics of dignified strokes, scattered dots, irregular structure, scattered compositions, as well as clumsiness hiding cleverness, movement containing stillness, hardness containing softness, etc."A Thousand-Character Essay in Small Regular Script" was written at the age of 49, directly following Zhong and Wang, and is simple and clumsy.

Bada Shanren (1626-1705), a famous calligrapher and painter in the early Qing Dynasty. His calligraphy did not have a fixed master, but he learned from a wide range of subjects and dabbled in everything. The regular script has the style of the Jin and Tang Dynasties, while the running script has the calligraphy style of Wang Xizhi and his son, and incorporates his own Zen philosophy. The works are extraordinary and refined, with a myriad of atmospheres.

Jinnong (1687-1763), also named Shoumen and Jijin, also named Dongxin, was born in Renhe, Zhejiang. He was erudite and talented, good at poetry, good at connoisseurship, fond of collecting, good at calligraphy and painting, and used a square and flat pen, so he was named "lacquer calligraphy". Jin Nong took its spirit from the seal script, changed its shape, and extensively absorbed it from the epigraphic script, forming the official script with the temperament of the seal script and the ambiguity of the epigraphic script. Its regular script is also derived from the official script, with emphasis on skill and clumsiness as beauty, which is pure and ancient.

The ink in this small regular script volume is thick and smooth, and the characters are round and thick, with ups and downs. It is simple and elegant, and has a strange atmosphere.

Liu Yong "Seven-Character Poetry in Small Regular Letters"

Liu Yong (1719-1804) was a calligrapher of the Qing Dynasty, with the courtesy name Chongru and the name Shi'an. He was famous in the calligraphy world during the reign of Qianlong. At that time, people called Weng Fanggang, Liang Tongshu, Wang Wenzhi, and Liu Yong as the "Four Great Masters", and Liu Yong had the highest achievement. At first glance, Liu Yong's calligraphy is round and soft, like a ball of cotton. However, upon closer inspection, the bones and veins are clear and the inner strength is strong. He is also good at small regular script, and his young regular script has the magnificent appearance of big characters. Later generations people praised his regular script not only as having the standards of Zhong Yao, Wang Xizhi, Yan Zhenqing, and Su Shi, but also as having the style of the regular script of Wei and Jin Dynasties.

This volume was written by Liu Yong when he was 78 years old. The calligraphy is simple, deep and round in structure. It is not difficult to see that Liu Yong's calligraphy in his later years absorbed some characteristics of Beibei and incorporated square, hard and vigorous brushwork into the original round and charming calligraphy style. This volume can represent Liu Yong's artistic level in regular script in his later years.

He Shaoji "Book of Fengchan"

He Shaoji (1799-1873), courtesy name Zizhen, Hao Yuansou, was born in Daozhou (now Daoxian County), Hunan. I learned calligraphy in my early years and studied calligraphy in my middle age. I especially benefited from "Zhang Heinv's Epitaph". His famous small regular script calligraphy includes "Ode to the Enfeoffment of Ryukyu", "Huang Ting Jing", "Biography of Huang Xiaozi", "Biography of Li Guang", "Essays of Shi Qu", "Book of Feng Chan", etc.

This small regular script "Book of Feng Chan" is written strictly, hiding the head and protecting the tail. The pen is light on the paper, but it is also smart and unrestrained, simple and powerful, and has no pavilion style.

Welcome to pay attention to Poetry, Calligraphy, Painting and Printing Notes, and send professional knowledge on poetry, calligraphy, painting and printing every day.