The Tang Dynasty's emperor admired the king's style, coupled with the maturity of regular script techniques, and on the basis of the traditional inheritance of Jin calligraphy, there was a new development, and it can be said that the achievements of the Tang Dynasty were another peak after the Jin. The appearance of Xingshu has undergone great changes in the Tang Dynasty, with Li Yong and Yan Zhenqing as the representative calligraphers.
Li Yong (675-747), the name Taihe, a native of Yangzhou, Jiangsu, once served as the Taishou of Beihai, and was known as "Li Beihai". Li Yong's calligraphy Wang Xizhi can be unique and unique, with a simple and thick pen, the words are strange and ups and downs, and the style is majestic. Representative works include "Lushan Temple Tablet", "Li Sixun Tablet", "Li Xiu Tablet" and so on.
Yan Zhenqing's line of writing is majestic, shocking, its pen, knot to absorb the taste of the seal, solemn and strong, heroic and strong, a change of the "two kings" all the way to the clear energy, created a new chapter in the style of calligraphy. His representative works include "Manuscript for the Sacrifice of Nephews", "Fighting for the Seat", "Liu Zhong's Envoy Post" and so on.
Among them, the "Manuscript of the Sacrifice of Nephews" has ups and downs, and integrates strong emotions into calligraphy works, and is known as "the second line of calligraphy in the world".
The society of the Tang Dynasty was generally stable, the feudal economy was prosperous, and various systems gradually took shape. The emperors of the Tang Dynasty were fond of calligraphy, which objectively and effectively promoted the prosperity and development of calligraphy art.
Like the recognition of characters, calligraphy became the basic course of enlightenment education for the ancient literati. Therefore, the vast majority of the ancient literati were good readers.