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The ancients said that "people and calligraphy grow old together", which refers to the level of calligraphy, but from another perspective, the progress of calligraphy masters also depends on time accumulation. Nowadays, with the gradual popularization of calligraphy and a good learning environment, many young people can achieve remarkable achievements in calligraphy in just a few years.

Sun Yantao, born in 1993, has had his calligraphy works exhibited many times in Shanghai and won awards. He also won a bronze medal in a national calligraphy competition with a small calligraphy.

There are a total of twelve works by Sun Yantao, all written with white ink on black paper. Each one is meticulously crafted, and it is obvious that a lot of effort has been put into it.

From Sun Yantao's calligraphy, we can see the elegance of Wen Zhengming, the simplicity and restraint of Wei and Jin Dynasty's small regular script, and even Wang Chong of the Ming Dynasty, his calligraphy style can be seen. The whole article has smooth strokes, rigorous brushwork, square and wide structure, mainly horizontal, and large fonts, showing his skill.

In order to prevent the characters from looking stiff due to too many characters, Sun Yantao appropriately stretched and contracted the long horizontal stroke, long left stroke, long right stroke and other radicals to create a feeling of "small but delicate". Moreover, in the flat and stable style, there are also changes such as facing, tilting, opening and closing, gathering and dispersing, and bending and straightening, giving people a sense of agility and liveliness.

Some people are good at small characters, while others are good at large characters. In calligraphy, some people are good at writing with strong and powerful strokes, while others are good at writing small characters. But no matter the size of the font, there is one thing in common: the font must be grand.

Judging from the style and structure, Sun Yantao's calligraphy still needs to be improved.

Some people may wonder that small regular script emphasizes neatness rather than grandeur. The principle behind this may be difficult to explain, but the regular scripts of Zhong Yao and Wang Xianzhi are the best examples.

Zhong Yao's regular script has an elegant brushwork, rough structure, and clear inner space, giving a sense of breadth and breadth; Wang Xianzhi's regular script has vigorous and powerful strokes, giving people a sense of grandeur and magnificence.

In comparison, Sun Yantao's works are undoubtedly exquisite, but his calligraphy still has the problems of being restrained and artificial. Specifically, there are four problems.

1. The spacing between characters and lines of Sun Yantao is basically the same, so it looks looser. The spacing between characters in Zhong Yao and Wei and Jin Xiaokai is small, and the spacing between lines is large, although there is only one row instead of a row, and it is uneven.

2. Zhong Yao's small regular script, "there is a lot of interest between the dots and strokes, it can be said to be profound and boundless, and full of ancient elegance". Its structure is natural and peculiar, contrary to the conventional and flat writing method, it uses dots to replace horizontal, vertical and downward strokes, the left stroke is short and long, the downward stroke is contracted, and the hook is sometimes sharp and sometimes blunt, all of which are determined according to the text. Therefore, his characters are naturally formed, without any carving or artificiality.

Sun Yantao's handwriting gives people a deliberate feeling.

3. Zhongshu's characters are square, flat, and combined, with a good density and natural shape. The characters are of different sizes and are arranged in a well-organized manner. The characters are intertwined and complement each other, creating a harmonious and integrated feeling. Sun Yantao's small regular script characters are too regular in size, without any rules, and the coordination between the characters is not coordinated enough.

4. Zhong Yao used his wrist to inject strength into the paper. It seemed casual, but it contained great power. Every stroke was full of strength. Sun Yantao's regular script lacked some strength and agility.

We are commenting on Mr. Sun Yantao's works here, not to criticize him, but just to expose some problems in his works. Whoever is right or wrong is wrong.

At the same time, we also wish Sun Yantao's calligraphy career will become broader and broader. For a young man in his thirties to have achieved such success has proven his talent and hard work. "Go one step further", isn't that good?