Kaishu is a common font, what do the four major italics refer to?

The four major italics refer to: Ouyang Xiu's "European style"; Liu Gongquan's "willow body"; Yan Zhenqing's "Yan Body"; Zhao Mengfu's "Zhao Ti" had a great influence on later generations of calligraphy.

It generally refers to Ouyang Xun (European Body) in the Tang Dynasty, Liu Gongquan (Liu Ti) in the Tang Dynasty, Yan Zhenqing (Yan Ti) in the Tang Dynasty, and Zhao Mengfu (Zhao Ti) in the Yuan Dynasty.

The four italics refer to the European style, the Yan style, the Liu style and the Zhao style.

Ouyang Xun in the Tang Dynasty - European Sports.

Yan Zhenqing in the Tang Dynasty - Yan Ti.

Liu Zongyuan of the Tang Dynasty - willow body.

Zhao Mengfu of the Yuan Dynasty - Zhao Ti.

These four people are also known as the "Four Masters of Regular Script".

There are three fonts in regular script, which can be divided into: small Kai, large Kai, and medium Kai. Among them, 1-3 cm is small (small characters), more than 5 cm is large (large characters), and 3-5 cm is medium letters.

But this is only a general division, because in real life there are very few small characters smaller than 1 centimeter and large characters as large as meters.

1, small Kai: small Kai refers to the font is smaller, but also relatively small regular script, compared to the Kai, large Kai pen is more relaxed, the general imperial examination, when copying the scriptures are used more, the small Kai calligraphy glyph is smaller but the structure is rigorous, writing has its special rules, mainly manifested in the refining of the chapter, that is, the control of the line and the whole text, because it is a small Kai so it saves a lot of action against the peak, but the structure is cramped, with more than enough to be wide.

Representative works: "The Biography of Lao Tzu", "Qin Fu", "Qingjing Jing", "Huang Ting Jing", "Tao Te Ching", etc.

2, in Kai: Kai refers to the word diameter of an inch square, that is, exists between the small Kai and the big Kai, its strokes are relatively straight, in the ancient inscriptions, the common is the Kai, Kai is also the regular script learners practice the most, the most widely used form, the font size is moderate, in the structure, penmanship, chapter and other aspects of the grasp are relatively easy to write.

Representative works: "Jiucheng Palace", "Yao Gong Cemetery Epitaph", "The Book of Teachings", "Wu Xingfu", "Miaoyan Temple Tablet", etc.

3, big Kai: big Kai refers to the word diameter of about two inches square, that is, 3cm-5cm, relative to the small Kai, Kai is a relatively large regular script, its strokes between the ups and downs, rich in change, large Kai because of the word large, but avoid loose structure, to be tight and uninterrupted, the diameter of more than one foot of the extra-large character called "Bangshu", generally refers to the plaque, lintel, notice and other words written, Bangshu as one of the ancient Chinese application book style, is not limited to regular script, for the seal, subordinate, line, grass all have.

Representative works: "Ode to Zhongxing in the Tang Dynasty", "Oriental Shuo Monument", "Duobao Pagoda", etc.

Ouyang Xun, Yan Zhenqing, Liu Gongquan and Zhao Meng.

The four regular script calligraphers are Ouyang Xun, Yan Zhenqing, Liu Yan Jiangongquan and Zhao Meng. Regular script is a form of Chinese characters in China, which evolved from Lishu Wu Mu Chong, which tends to be simpler and more horizontal and vertical. The regular script font is upright and generous, and it is the flame resistant Chinese character that we use in modern times.

The four regular script masters are the collective name of the four calligraphers who are famous for their regular script in the history of calligraphy, also known as the four regular script raids. They refer to Ouyang Xun in the Tang Dynasty (Ou Ti Pai Chenyuan), Yan Zhenqing (Yan Ti) in the Tang Dynasty, Liu Gongquan (Liu Ti) in the Tang Dynasty, and Zhao Mengfu (fǔ) (Zhao Ti) in the Yuan Dynasty.

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According to the time of appearance, there are three major systems of regular script:

1. Wei and Jin Kaishu: Take the Wei and Jin dynasties, mainly in the form of small Kai. With Zhong Xuan and Wang Xizhi.

Wang Xianzhi's small Kai is the representative, and the focus is on the small Kai. For example, Zhong Xuan's "Declaration Table", "He Jie Table", "Recommended Season Straight Table", Wang Xizhi's "Le Yi Treatise" and "Huang Tingjing".

Oriental Shuo Painting Praise", Wang Xianzhi's "Jade Edition Thirteen Lines", etc. Speaking of which, let's briefly talk about the selection of posts. Xiaokai selection post, it is recommended to chase after Wei and Jin, don't take the Ming and Qing dynasties first, why?

The breadth is not the same. Wei Jin Xiaokai is very free, and the feeling of big beads and small beads falling on the jade plate. The front is a seal, which is flattened, not pressed, and the overall performance is simple.

2, Wei Bei. This is a special phenomenon, it is a kind of form based on the stele of the Northern Wei Dynasty, and later such a form was generalized, and all calligraphy works of this type of form are collectively called Wei stele style.

Wei Tablet Classification: Cliff: Twists and turns, long-term mottled, mainly round pen, Zheng Wengong.

Shi Menming, Zheng Wengong is more standardized.

Statue: Longmen 20 products, square fold square carving, sharp blade, Yang big eyes.

Shi Ping Gong. Epitaph: Sima and Yuan belong to the royal epitaph, which is relatively standardized.

Tablet: regular, such as Zhang Menglong.

3, Tang Kai. This is a typical regular script. Tang Kai refers to the mainstream calligraphy style of the Sui and Tang dynasties, which is completely mature and stereotyped, and from the perspective of calligraphy, it is a popular or popular calligraphy. However, Tang Kai is mostly the object of later generations, and it is also the peak in the history of the development of regular script. Zhiyong's thousand-word essay.

Ouyang Xun's Jiucheng Palace, Yu Shinan.

The monument of the Confucius temple is still the law of Jin. Starting from Xuan Suiliang, it was the formation of Tang Kai. Or they are "inheriting the afterglow of the northern monument of the Six Dynasties, and opening the precedent of the italics of the Tang Dynasty". arrived at Yan Zhenqing.

Liu Gongquan, Duobao Pagoda Monument, Yan Qinli Monument, Mysterious Pagoda Monument, and Shence Army Monument, are becoming more and more obvious, rather than flattening. The way the Jin people wrote was not intended to coincide with the appreciation of calligraphy, that is, on the wall. The Jin people are in charge of the book, in the Tang Dynasty, high tables and high chairs appeared, and there was a press.

Brushwork from the Wei and Jin dynasties to the early Tang Dynasty is the natural movement of the hand, not the pen, with the wrist instead of the pen, not depicted, is naturally written, slightly one side can be, Ouyang Xun, etc., high tables and high chairs instead of the book of the hand, Chu began to be the formation of Tang Kai, pressed, has not been flattened. Such as Ouyang Xun, Yu Shinan, Yan Zhenqing, Liu Gongquan, Chu Suiliang.

Zhao Meng: One is the background, and the other is the unique situation. For example, Yan Zhenqing's ancestor was Yan Zhitui of the Northern Dynasty, so his style of writing has the blood brought by the style of calligraphy of the Northern School, and his characters contain the elements of tablets.

As shown below:

The shape of the face and body is new, the law is severe, and the momentum is majestic before the ancients. From an aesthetic point of view, the face and body are dignified and beautiful, masculine and artificial, and the number of beauties is at the same time, which is the rule for future generations. From the theory of the times, the early Tang Dynasty inherited the remnants of the Jin and Song dynasties, failed to stand on its own, and as soon as the face came out, the new body cast by the Tang Doutan became one of the distinctive aspirations of the Tang Dynasty.

His regular script is contrary to the style of calligraphy in the early Tang Dynasty, with the pen of the seal, turning thin and hard into plump and majestic, the body is broad and magnificent, the bone strength is strong and awe-inspiring, this style also reflects the prosperous demeanor of the Tang Empire, and fits with his noble personality, which is a perfect combination of calligraphy beauty and personality beauty.

Characteristics of the face body:

The font is square, majestic and dignified, with a strong and powerful pen, and Liu Gongquan is called "Yan muscle willow bone". Yan Zhenqing had a great influence on calligraphy in later generations, and most of those who learned to write big characters in later generations were "Yan Ti". Its impact on later generations is not only regular script, the book also has a huge impact, the Song Dynasty Mi Fu had on the "send Liu Taichong preface" said:

The look is bright, the dragon and snake are vivid, and the sight is amazing".

Su Shi of the Song Dynasty said in "After the Six Books of the Tang Dynasty": "Those who discuss books in ancient times also discuss their lives. It's not his own, even though the work is not expensive."

In other words, a good book must also be of high character in order for its works to be respected by the world. Those who are at fault and morally corrupt will not be appreciated by those who know how to write well, even if they can write well.

Generally refers to the European body, one is that it is relatively early, but the European body pays more attention to the law.

Ouyang Xun, a native of Linxiang, Tanzhou (now Changsha, Hunan), is one of the four masters of regular script (Ouyang Xun, Yan Zhenqing, Liu Gongquan, Zhao Mengfu). Dr. Taichang of Sui Shiguan, and Tang Shi was named the prince rate of the order, also known as "Ouyang rate change". and the other three of the same generation (Yu Shinan, Chu Suiliang, Xue Ji), and called the four masters of the early Tang Dynasty.

Ouyang Xunkai's calligraphy is rigorous, the pen power is steep, and the world is unparalleled, and it is called the first regular script of the Tang Dynasty. He and Yu Shinan are famous for their calligraphy in the early Tang Dynasty, and called "Ou Yu", and the descendants of their books are in danger in the peace, and they are the most convenient beginners, called "European Sports". It is known as "the world's first regular script".

Ouyang Xun is not only a generation of calligraphy masters, but also a calligraphy theorist, he summed up the eight methods of practicing calligraphy and learning characters in the long-term practice of calligraphy, Ouyang Xun wrote "Teaching Tips", "Pen Theory", "Eight Tips", "Thirty-six Laws" and so on are all his own experience in learning calligraphy, more specifically summarized calligraphy with a pen, knots, chapters and other calligraphy formal skills and aesthetic requirements, is a precious heritage of Chinese calligraphy theory.

The characteristics of regular script fonts are as follows: the font is square, the strokes are neat, and the structural parts are not connected to each other. To write regular script, we should not only take into account the length and thickness of the strokes, but also write their respective postures according to the structure of each word, and be dignified on the side.

The character characteristics of regular script are that the font is square, the strokes are neat, the structural parts are not connected to each other, and the rules are lawful. Its dot painting point, horizontal, vertical, apostrophe, pinch, lift (pick), fold, hook eight kinds, the stroke has a regular development, thus forming the "Yongzi Eight Laws", all the strokes of regular script, are summarized in the eight laws.

The two main categories of regular script are large and small.

Xiaokai, is the small of the regular script, founded in the Three Kingdoms Wei period of Zhong Xuan. He was originally the most outstanding authority of Lishu, and the penmanship of the regular script was also born from the Han Dynasty, and the gesture was like a flying sea, and it was very vivid to count the stools. In the Eastern Jin Dynasty, Wang Xizhi studied the calligraphy more carefully, so that it reached the realm of perfection, and also established the standard of appreciation of the beauty of Chinese calligraphy.

Under normal circumstances, people refer to genuine books that are more than an inch and a few inches square as a large block book. Larger than this is called "Bangshu" and "Bangshu". According to the experience accumulated by calligraphers in the past dynasties, to learn calligraphy, you should first write in large letters, and then do basic exercises after traveling.

Master the dot painting, structure, and cloth white, so that the dot painting is accurate and precise, and the structure is sparse after the end of the sale.

Representative figures and works of Lishu:

Jin Nong (1687--1764) is a native of Hangzhou, Zhejiang, erudite and talented. Gong poems, fine appreciation of the ancient, rich collection, good travel, rich writings. His representative works include "Winter Heart Poems" and "Winter Heart Essays".

Representative characters and works in cursive script:

Zhang Xu (about 675 - about 750), the word Bogao, the word Ji Ming, Han nationality, Tang Dynasty Wu County (now Suzhou, Jiangsu) people, Kaiyuan, Tianbao was alive, once served as Changshu County Lieutenant, Jin Wu long history. His representative works include "Belly Pain Sticker" and "Four Ancient Poems".

Representative characters and works in regular script:

The representative figures of the four masters of regular script Ou (Yang Xun), Yan (Zhenqing), Liu (Gongquan), and Zhao (Meng Fu) are respectively "Jiucheng Palace Liquan Ming", "Duobao Pagoda Tablet", "Mysterious Tower Tablet", "Bile Tablet".

Representative figures and works of Xingshu:

The most famous of the representative works of the calligraphy is the "Orchid Pavilion Preface" of the calligrapher Wang Xizhi of the Eastern Jin Dynasty, and the predecessors described it as "the dragon jumps over the heavenly gate, and the tiger lies in the phoenix", and it is praised as "the first line of books in the world".

Yan Zhenqing's book "Manuscript of the Sacrifice of Nephews" in the Tang Dynasty was written vigorously and unrestrainedly, and the ancients rated it as "the second book in the world". And Su Shi's "Huangzhou Cold Food Post" is known as "the third book in the world". The famous representative work in the line is Li Yong's "Lushan Temple Tablet" in the Tang Dynasty, which is smooth and moist.

Big FourRegular script refers to: European style, Yan style, willow style, Zhao style.