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Yan Ti is a font created by Yan Zhenqing, a calligrapher in the Tang Dynasty. Yan Ti and Liu Gongquan are collectively called "Yan Liu" and "Yan Liu Jingu". "Yan Ti" is aimed at Yan Zhenqing's regular script. Its regular script structure is square and dense, the strokes are horizontal and light, the brushwork is vigorous and round, and the momentum is solemn and vigorous.
Yan Zhenqing, a genius in the book world. For thousands of years, only Yan can be compared with Wang Xizhi, the sage of books, and stride forward in the world of books. Of course, Yan Zhenqing was crowned as the crown in the Tang Dynasty, and Yan Shu was also regarded as the grand marshal in the Song Dynasty. Since then, Yan Zhenqing's book soul has formed a huge force and accumulated into an important part of China's book soul. "The Biography of Yan Zhenqing in the New Tang Dynasty" praised: "Although it has been 1,500 years, its heroic words are awesome and admirable!" The heroic life of the sun and the moon is an inexhaustible source of watering his wonderful calligraphy.
Liu Ti refers to Liu Gongquan (778-865), the last great calligrapher in the Tang Dynasty and one of the four masters of regular script. Liu's body is balanced, thin and hard, chasing Weibei steadily, with smooth and beautiful stippling, thick bones and tight body. "Books are expensive, thin and hard, and the spirit is clear." Compared with his face, his regular script is slightly flat and thin, so it is called "Yan Gu".
Liu Gongquan is another master of regular script after Yan Zhenqing in the Tang Dynasty, and is known as "Liu". Together with Yan Zhenqing's regular script, his regular script was called "Yan Liu Jin Gu" by later generations. He began to study Yan Zhenqing, then studied the calligraphy of Wang Xizhi's father and son and Ou Yangxun, and then set up his own family. Therefore, Liu Gongquan's regular script is mixed with Ou Yangxun's brushwork, and some strokes are often closely interspersed, which is particularly broad, fine and angular. Although his pen was written by Yan Zhenqing, it is different from Yan Zhenqing's vigorous and broad style and is particularly heroic. Liu Zixiu is vigorous, and this unique calligraphy style is called "Liu Style" by later generations. In the form of Mi Zige, this book explains the radical methods of Liu Gongquan's regular script. The book is divided into six parts: introduction of strokes, introduction of radicals, single words, compound structure, works receiving characters and representative works. This book is suitable for beginners of calligraphy of different ages.
Zhao Meng was an influential calligrapher in the early Yuan Dynasty. Xing Wu (now Huzhou, Zhejiang Province) was born. He has been a bachelor of Hanlin, a doctor of Rong Lu, a duke of Wei and a scholar of Wen Min. He is the author of Song Xuezhai Collection. "Biography of the History of Yuan Dynasty" records: "Meng Yi's calligraphy is the best in the world, so the book is the theme of the world." Praise. According to Song Lian, a scholar, Zhao's calligraphy was studied in his early years, in his middle years, Zhong You and the Immortal, and in his later years.
His calligraphy achievements and thoughts have deeply influenced later generations. Not only some famous contemporary artists, such as Deng and Xian Yushu, followed his example, but Zhu Yunming in Ming Dynasty, Liu Yong and Gan Long in Qing Dynasty also learned a lot from it. The calligraphy of the whole Yuan Dynasty was almost shrouded in the shadow of Zhao Meng. It can be said that he is an important bridge between Jin and Tang Dynasties and the Qing Dynasty. He is the third influential master in the history of calligraphy in China after Wang Xizhi and Yan Zhenqing.
European style is a regular script font created by Ou Yangxun, a great calligrapher in the Tang Dynasty. It is characterized by the combination of harmony, strong stippling and cohesive brushwork. It is steep and rigorous. Keep the side stable, compact and sparse.
His greatest contribution is the arrangement of regular script structure. According to legend, Ou Yangxun summed up the construction methods of thirty-six regular script fonts and named them "Ou Yangxun Thirty-six Methods". Although this method is mixed with later generations' explanations or reflections, a large part of it must be Ou Yangxun's: his research completely got rid of the irregular changes of unstable fonts and entered the level of modeling analysis, and the mature concept of calligraphy structure was truly established.