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In the regular script system, the level of Tang regular script can be called the "top of the pyramid", especially the calligraphy of Ouyang Xun, Yan Zhenqing and Liu Gongquan, which are regarded as the standard. However, for a long time, most people only pay attention to the form of their regular script, but ignore its spirit. Therefore, we can see that people who learn Ouyang Xun, Yan Zhenqing and Liu Gongquan will write in the style of these three masters no matter what they write in the future, and it is difficult to get rid of it.

This is a dead end in learning regular script, which is far more harmful than beneficial. When learning Tang regular script works, we should choose those works with rich and rigorous brushwork, vivid and natural charm, and leave room for students to play. Only in this way can we get started easily, produce results quickly, and make it easier to post.

During the Jiaqing period of the Qing Dynasty, a farmer in Xi'an, Shaanxi Province, accidentally discovered a Tang Dynasty tombstone while hoeing the land. Once it was unearthed, it attracted the attention of the art world. Many calligraphers in the late Qing Dynasty praised it highly. It isEpitaph for Liu Jun's Joint Burial, also known as "The Epitaph of Liu Zhi", this work is extremely well preserved because it was buried deep underground.

After the unearthed, the Epitaph of Liu Jun was collected by Liu Yanting and stored in the Wanfeng Mountain House of Master Liuzhou of Jingci Zen Temple in Hangzhou. During the Taiping Heavenly Kingdom period, Jingci Zen Temple suffered heavy damage and the epitaph was also destroyed in war. Fortunately, a rubbing of the epitaph has been handed down.

There are two types of rubbings available on the market."Jinshi Zhang Kewen"The version is now kept in Beijing Library; the other is"Martial Arts Su Lingzhi Book", academic research,The first type is the initial rubbing of the original stele, and all the inscriptions of "Wugong Su Lingzhi's Book" are reprinted.The Epitaph of Liu Zhi is 52.5 cm in both length and width, with a total of 20 lines, 19 characters per line, and more than 390 characters. The character diameter is about 3.5 cm.

This tombstone was written by Su Lingzhi, the imperial calligrapher of Emperor Xuanzong of Tang. His calligraphy level is comparable to that of Yan Zhenqing and Li Yong. Some even believe that his calligraphy makes up for the shortcomings of Yan and Li.Compared with Beihai, he is more handsome, and compared with Taishi, he is more talented.”，It is more solemn than Li Yong's calligraphy and more meaningful than Yan Zhenqing's calligraphy.。

The writing style of this epitaph is precise and natural, and each stroke is calm and steady. Take the character "唐" for example. The dot strokes are full and powerful like falling stones, which forms a sharp contrast with the lightness of the horizontal strokes. The left stroke is stretched out. The square and round strokes are used together at the turning point, pressing, pausing, then lifting and retracting the pen. There are many horizontal strokes in this character, butEvery stroke is different, with different pitch, direction, response, thickness, weight, etc.。

Let's look at the characters "魏" and "君". First, the momentum is taken in the air, and then the tip of the pen is hidden on the paper. The strokes are vigorous and upright, with clear edges and corners. It has both the solemnity of Tang Kai and the steepness of Wei Bei. The whole regular script has the style of running script, combining the style of Wei Bei, Chu Suiliang, Ouyang Xun, "Lanting" and "Shengjiao". The characters are mixed with crooked and straight, and the white space is appropriately sparse and dense, giving off a neutral and unrestrained atmosphere.

The preciousness of "Epitaph of Liu Zhi" lies in the fact that every character has been carefully scrutinized and carved. The more it is magnified, the more wonderful it becomes, and no flaws can be found. At the same time, the strokes and the formation of characters are not rigid. Careful copying can not only improve our calligraphy level, but also "cure" the problem of dullness.

Now, we have reproduced the original rubbing of this work in ultra-high definition and 12 colors, showing every detail of the brushstrokes, and added explanations to correspond to each one, making it very convenient for you to copy and appreciate. If you are interested, please click the link below to take a look!