Joon Tai on Standard Script 运开写楷书

It seems to be a generally agreement that the adult learners of Chinese calligraphy should start with practicing the standard (regular) script first. This is because most of the basic techniques of writing Chinese calligraphy can be learned by practicing the standard script.

The number of basic strokes in the standard scripts is said to be more than those of other scripts or styles. Besides the eight basic strokes in the character ‘yong’ (forever), it is estimated that the number of different strokes in standard script is more than twenty. More importantly, each stroke is clear and separate. This is different from the connecting and smooth strokes in cursive script.

The speed of writing each stroke of standard script is average, not as fast as in cursive script, nor as slow as in official script.

The structure of each standard character looks square while in official seal script (especially the small seal script) the structure is taller and rectangular, and in clerical script which is flatter and rectangular. The structures of characters of walking and cursive scripts are quite irregular.

New learners normally choose to practice on the model works of one of the four famous calligraphers, namely Ouyang Xun, Yan Zhenqing, Liu Gongquan or Zhao Mengfu.

Zhao’s style of writing the standard script is always eye-pleasing. However, Zhao’s works are generally considered not suitable for beginners as Zhao had simplified considerably the brush strokes. Ouyang’s model works are considered to be a good choice as the structures of his words are standard and his brush strokes are closer to that of clerical script. However, the writing of Ouyang is considered to be too structured so much so that the new learners may find it difficult to follow, since a slight error or deviation will result in wide divergences in strokes and structures of words.

I have started with learning the Yan style and then followed by the Liu style. For Yan style, one must practise at least the ‘Stele on Pagoda of Many Treasures’, ‘Yan Qingli Stele’ and ‘Record of the Altar of the Immortal of Mount Magu’. For Liu style, I have practised ‘Stele of the Xuanmi Pagoda’ and ‘Stele of the Imperial Guard’. I have spent much time on practicing the ‘Stele of the Xuanmi Pagoda’. I am still practicing it.

Shown here are copy works of Liu Gong Quan.

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Practice on Liu Style 临摹柳公权《玄秘塔碑》

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看来一般的共识是成年书法初学者应该从楷书学起。这是因为书法的基本技法都可以从楷书中学到。

楷书的笔画比其他字体来的多。除了‘永’字的基本把笔画之外，估计楷书笔画有二十多种之多。更重要的是，每一笔画都很清晰与独立。这与草体的连贯与平滑笔画不同。

楷书的书写速度也比较一般，不比草书快，不比隶书慢。

楷书的结构看来像正方形，而篆书（尤其是小篆）的结构是向上下的长方形，隶书则是向左右伸延的长方形。行草书的形状较不规矩。

初学者一般选择临摹楷书四大家欧阳询、颜真卿、柳公权或赵孟頫中的一家的法帖。

赵体的楷书令人舒服愉快。但是，赵体一般不适合初学者，因为笔画在很大程度上被简化了。欧阳询的法书被认为是好的选择，因为字的结构标准，笔画也较接近隶书。但是因为字的结构太过严谨，初学者可能难以临摹，因为稍有差错或偏差，就会造成笔画、结字与整体上的大偏离。

我先学颜体，后临柳体。学习颜体最少应临完《多宝塔碑》、《颜勤礼碑》与《麻姑仙坛记》。至于柳体，我临摹了《玄秘塔碑》与《神策軍碑》。临《玄秘塔碑》一直不断，至今还在临摹。

这里所显示的是临摹柳体法帖。