Chinese calligraphy works, the layout of the chapter is dense and staggered, the collection of points into words, the collection of words into lines, the sense of rhythm between the lines is very strong; For the success of a calligraphy work, the layout of the chapter is an important factor in the overall beauty of the work, and each word of the calligraphy work is the independent beauty of the whole work. The rhythm of his brushwork, the vigor of his momentum and pen power, the combination of artistic conception and structure, and the appropriate changes of ink rhyme all show the infinite charm of Chinese calligraphy. Among the many calligraphy works in the history of our country, the famous politician and calligrapher Chu Suiliang of the Tang Dynasty has a good reputation in the calligraphy world for its spontaneous and elegant, smart and beautiful font style. Chu Suiliang: set hundreds of calligraphy skills, there are inheritance and innovation Chu Suiliang is a famous calligrapher in the Tang Dynasty, he is well-versed in the ancient and modern, talented, calligraphy from Shi Ling, and Ouyang Xun and Yu Shinan have many learning exchanges, by their guidance, set hundreds of directors self-contained. Chu Suiliang's regular script calligraphy writing has appeared in two stages: the early stage of the calligraphy is mainly the use of square pen, the trend of the pen shows the edge, the hook painting of the pen directly out of the pen does not return to the pen, the calligraphy and painting of the pen press pen is not particularly obvious, in their own calligraphy to retain the teacher Ouyang Xun, Yu Shinan book style characteristics. In terms of writing style, it also absorbs the wide elegance in Yu Shinan's regular script writing knot and the sharpness and strength in Ouyang Xun's regular script pen characteristics. 
And, he used his own writing characteristics to compress their slender font form into their own writing font form, Chu Suiliang's works in the early stage also retained the influence of the North Monument on their writing style at that time, his calligraphy works in the font structure, glyph knots, and the trend of the pen are a large number of incorporating the posture trend of the official book, but it is not a complete copy of the rigid set, is on their own character shape posture trend chapter, absorb innovation, quote everyone's strengths for their own use. Chu Suiliang's later works are neat and strict, ethereal and flying, and the writing techniques of the early and late periods have changed from the original two-point pen to the straight writing penmanship of winning with bones, and have turned into one, and the writing penmanship used by the pen is both used in the pen, that is, to win with tendons. This kind of penmanship writing in the strokes undulating and varied, staggered, the use of gestures to write a variety of variations, showing a strong sense of rhythm, Chu Suiliang everyone's new calligraphy style was born, the world's literati and ink writers are full of praise, competing to learn, the achievement of a new calligraphy era, leading a calligraphy fashion. In the early Tang Dynasty, Ouyang Xun and Chu Suiliang's calligraphy writing was the most innovative, Chu Suiliang's calligraphy was the most able to lead the times and keep pace with the times. 
His font will not be inhibited by many literati predecessors, the font of his calligraphy works gives people a kind of flesh and bone scaffold weight to achieve a natural balance of state, handsome and chic, rigid and soft, font skeleton and shape rhyme, pen power and aesthetic combination, promote the formation of Tang Dynasty calligraphy, so that our Tang Dynasty calligraphy and later generations of calligraphy innovation and continuation of the improvement has a better practical basis for reference. Chu Suiliang's calligraphy is different from Ouyang Xun's calligraphy with a rigorous law, showing the rational beauty of his works, and also different from Yu Shinan's calligraphy of gentle and elegant, showing the restrained beauty of his works. His calligraphy is the Ming Dynasty writer Yuan Zhongdao said that the kind of "wisdom" of the atmosphere, the font not only pays attention to the structure of the font, but also pays attention to the beauty of the lines of the font, his writing brushwork has reached the point of being superb, some font strokes are thick, but when the pen is very light. Sometimes the pen is not very heavy, but the middle is very thin, and in the end it is particularly heavy to press the pen, so that the whole line has an obvious light and heavy pen method, Chu Suiliang's calligraphy was copied and learned by later generations, but can not learn his essence, a large part of the reason is his ability to control the pen. 
Yin Fu Jing: The font is light, the lines are flowing, and there is a great sense of rhythm and rhythm "Yin Fu Jing" has a total of 461 words, and the style is relatively close to Chu Suiliang's late calligraphy works, and the whole work is an ink book, so his ink traces and the turn of each stroke can clearly show the penmanship trend of writing. "Yin Fu Jing" has the main characteristics of Chu Suiliang's writing penmanship, the font is light and flexible, the strokes are varied, the calligraphy lines are full of flowing beauty, with a sense of rhythm and rhythm, the trend of the pen is very flexible, a stroke of turning point painting, the line of the pen with the pen of the book, but also with the meaning of the book, each stroke of light and heavy virtual reality is very good, the gesture is natural, vertical and horizontal clear. 
Among them, "view", the left and right structure, the font is full of muscles and bones, and the spirit is abundant; "Heaven", skimming and opening, the skeleton is clear, clear and powerful; "Zhi", the contrast between thickness and thickness is stark, chic and elegant, all in one go; "Dao", semi-enclosed structure, rough subdivision, the bottom of the walk is vigorous and plump, "persistent", left and right structure, square and dignified, exquisite writing. The word "line" is steep and steep, flowing and elegant; "End", the edge is exposed, strong and powerful, and it does not lose its strength and elegance; "Chang", strange but not true, shade appropriate, play flashy but not real; "Five" is rich in pens, round and square, hidden and exposed, complementing each other; "Thief", the left and right structure, the penmanship of the line of writing into the regular script, the thickness changes, the chapter is decent; "Heart", using more side trends, between a little bit of a painting, the extreme changes are endless. The word "Yu" lies on its side but does not lose its center of gravity, the dot painting is connected, the middle palace is full, the complexity is simplified, and the font is loose but not scattered; "Yu", the pen is solid, the momentum is strong, the pulse is smooth, honest but charming, elegant but dignified; "Zhou", the upper and lower structure, dignified and steady; "In", the gesture is vertical and horizontal, and the meaning is natural; "Transformation", the gesture is flying, ups and downs, and the changes are ingenious; "Body", the slightest wisp between the pen is constantly disconnected, the speed is extremely fast, and the pitch is a call and a welcome. 
The word "person" makes the turn subtle and escapes freely; "Also" has a flat body, quite the beauty of ancient subordinates; The "machine" pen is vigorous, the form is changeable, calm and unobstructed; "Fixed", the next stroke trend is strong, and the sense of rhythm is very strong; "Kill", the pen is carried with scripture writing penmanship, simple and natural; "Shift", the use of the pen is eloquent, the momentum is ancient; "Star", upper and lower structure, dignified atmosphere, calm and stable; "Yi" up and down structure, there is a line of writing and pen in it; The contrast of the "hair" lines is very strong, sparse and dense, and the shades are appropriate; The upper and lower structure of "Zhe" is delicate and smart. The "dragon" is structured on the left and right, and the spirit is fluttering; The "snake" has a left and right structure, and the body is broad; "Rise" gesture leaps, scattered and colorful; The left and right structure of "Lu" has a broad and ancient meaning; "Nine" gestures criss-cross, gestures flying, thousands of weather; The upper and lower structure of the "trick" is square and regular, dense and compact; "Water" enters the pen on the side, takes the momentum on the side, and is dignified and fierce; "Evil" goes down the pen and lays the right line; "Want" the upper and lower structure, and the long horizontal pen is lifted according to the rules of change; "Can" in the middle of the hook painting stops at the tip of the pen to lift the pen and whirl, hooking out to the upper left. 
"Move" along the pen tip lightly, turn the pen tip to spread the tip of the pen, press the pen slowly; "Victory" left and right structure, the wind god is chic; "Fire" is generous and decent, and the spirit is unique; "Woe" left and right structure, the knot is broad, broad, flat and smooth; The "push" strokes are naturally drawn and the strands are adhered to, and the use of the line is integrated into it; The "over" strokes are numerous and rich, and the content and chapter method require strong calligraphy skills; "He" skimming and relaxation is powerful, and it is integrated into the official book; "Clumsy" handsome and beautiful, left and right structure, varied; The "country" pen is changeable and flexible, full of muscles and bones, and can be retracted and released freely; The "time" line of the pen is used in conjunction with the side forwards, coupled with the strong pen press, the thickness of the strokes changes greatly. "Collapse" combines virtual and real, with a strong pen, rigorous discipline, and a strong sense of rhythm; "Knowing" moves the pen and flies, and the knots are thin and hard; The "repair" potential is exposed, and the brushwork is clear; "Predicate" is artistic, and the practice is in character; "Li" is chic and elegant, empty and ethereal; "Thief" upper and lower structure, rich in lines, full of strength; The "three" shape is flat and sparse, and the strokes are strong and thin; "Cai" is born because of the pen and shaped; "Both" left and right structure, strong and charming; "Ran" lines are slender, round and beautiful, and the muscles and bones are contained; The elastic and resilient lines of "An" are combined with each other to create a wonderland that is simple and distant; The strength of the "said" line is expressed by using the wrist and the contrarian trend, and the character posture is correct; "Food" skimming is refreshing, and the structure is relaxed. 
The day is "clean and super easy, full of antiquity; The shape of the "moon" is straight and vivid; "Mo" upper and lower structure, the strokes are broken and the rhyme is connected; "Can" is rich and smooth, varied, and unique; "See" is generous and sparse, rich and energetic; "Jun" has both square and round, and the atmosphere is clear; "Poor" upper and lower structure, thin and stiff; "Light" left and right structure, comfortable and stable; "Life" skims and stretches, and the short and horizontal closes. "Listening" takes horizontal painting as the shape and quality, so as to turn into emotion; The upper and lower structure of "night" is chic and elegant, and the brushwork is vertical and horizontal; "Dou" is depressed, full of muscles and bones, and full of flesh and blood; "Carrying on" is natural, but strong and powerful, warm and moist like jade; "Thunder" is full of muscles and bones, and it is polished with expression; "Music" is upright and naturally smooth; "Foolish" bones are rich and fleshy, and they are wonderful and psychic; "To" strokes are rich and powerful: "Static" left and right structure, the word is open, and the bones are strong; Lian Qingyuan is scattered and slightly miscellaneous; "En" up and down structure, the thickness of the strokes. Chu Suiliang's "Yin Fu Jing" is full of Chu Suiliang's ink book, ** article learning, played a great role, the weight is appropriate, the control of the pen is very incomparable, and the descendants will not be able to do it.