初唐楷书融合了南北书风之长。若以欧阳询代表了北派特色，发挥了碑派书法刚健峻拔的特征，虞世南则更多体现了南派书风的江东风流。“欧若猛将，深入时或不利；虞若行人妙选，罕有失辞。虞则内含刚柔，欧则外露筋骨。君子藏器，以虞为优。”同欧体书一样，虞世南亦内化了“魏晋楷法”笔画的转换变化。

《孔子庙堂碑》是虞世南最有代表性的作品，也是二王书法最有力的继承。下面我将王羲之的《黄庭经》、王献之的《洛神赋》、虞世南的《孔子庙堂碑》作为研究对象，来分析虞世南楷书的形成。

形态比较分析

欧阳询和虞世南都是由隋入唐的书法家，由于两者取法不同，所以各自的风格也不相同。欧阳询楷书特点是惊奇跳峻、险劲外露，而虞世南的楷书特点是意气平和、遒逸内敛。从横画的起笔上来看，《孔子庙堂碑》与欧楷不同，而是延续了《黄庭经》和《洛神赋》的起笔方式，起笔十分的轻灵，落笔便翻腕向右行笔，不像欧楷折笔非常分明；从行笔上来看，以图中的“其”字为例，二王的倾斜度较大且粗细变化比较明显，而《孔子庙堂碑》在二王的基础上趋于平直化，姿态比较平和内敛，书写性比较强；三个碑帖都是采用的的圆收。

《黄庭经》和《洛神赋》、《孔子庙堂碑》的竖画都以露锋起笔，图中的“中”字都是悬针竖，《黄庭经》中的竖虽短，但曲直变化较明显，《孔子庙堂碑》竖画有《洛神赋》竖画笔意，相对来说较长且劲健挺直，变化较小，更加的平和，改变了《黄庭经》字形偏宽的结构特点，延续了《洛神赋》偏长的结构特点。横画起笔和收笔动作都十分的细微，着角不如欧书明显，竖画中悬针出锋而不露，非常的含蓄，与二王风格相似。在笔者看来，初唐楷书笔法的传承从欧、虞开始就应该是两条脉络往后延伸的。

三个碑帖的撇画都是露锋起笔；行笔的角度稍有不同，图中“人”字在《孔子庙堂碑》中短小，行书笔意较强，与《黄庭经》笔法相似；我们可以着重看图表中的捺画，有斜捺和平捺之分，斜捺如图表中的“人”字的捺画，《孔子庙堂碑》学《黄庭经》，入笔速度非常快，形成一个虚尖，行笔时倾斜角度非常之大，属于虞书中放得非常开的笔致之一，平捺如图中的“之”字，方圆并用，圆润遒劲，棱角没有欧书鲜明，欧书显得更加锐利；从行笔上来看，《黄庭经》的节奏感更加明显，一波三折，此起彼伏，粗细变化较为明显，最后有一个非常明显的顿笔，而《孔子庙堂碑》较《黄庭经》和《洛神赋》的基础上中更显方流畅、轻捷、圆融。

通过下图中“之”、“若”、“为”中点画的比较，可看出《孔子庙堂碑》继承了二王的神韵，点画与之相连的那个笔画笔断意连，如图中“为”字的点撇，另《孔子庙堂碑》中“为”字的撇画呈 S 形，继承了二王的笔势，三个折画叠起，方圆结合，较《黄庭经》和《洛神赋》行书笔意更加强烈，连笔更加流畅，书写性越来越强。《黄庭经》中的竖钩出钩较短，竖钩内边缘线呈直角，外边缘线呈三角形，《洛神赋》竖钩较《黄庭经》弧度和出钩增强，而《孔子庙堂碑》钩画较《黄庭经》和《洛神赋》更趋圆润，没有二王的方劲，看起来更加轻捷，行草笔意更加明显。

从纵向来看，可以将虞体楷书与欧体楷书相比，欧楷顿折为主，圆转为辅，而虞体以圆转为主，顿折为辅，欧体有北碑痕迹尽显厚重，方劲，而虞书尽显温和，与欧书形成鲜明对比。从横向来看，可以将虞体楷书与二王作比较，虞体楷书基本上是继承了二王的风韵，通过以上分析，也能看出虞书在二王基础上进行创作，形成了自己的风格特点。

除此之外，《孔子庙堂碑》中的行书笔意与王羲之的《兰亭》有很多相似之处，如下图《孔子庙堂碑》中的“若”字中的短撇上的虚尖，“其”两点之间的那个若影若现的连带，以及“资”字上方的欠部，都跟《兰亭》有相似之处；而《孔子庙堂碑》中的“为”的转折部分几乎就是行书的写法，只是比《兰亭》笔 法略粗。当然，在继承的基础上也发生了变化。

他们间区别最明显者当属一些字的长横，如“所”、“不”等字，《兰亭》呈优美的波形，《孔子庙堂碑》曲折笔意则遗存无几了。《兰亭序》“其”字第四横画起笔有一回锋动作，展现了“三过折”笔法的笔势承接，而《孔子庙堂碑》横画则失去了这种笔势关系。

又如“若”横画也在传承过程中渐渐丢失了中侧转换的块面感。虞世南书法的竖画，如《兰亭序》“其”字首竖呈 S 形，第二竖前后都有一个弯度，而虞世南《孔子庙堂碑》则为一近于等粗的直线。《孔子庙堂碑》的撇画、捺画对二王以来的书风进行了改造，如《兰亭》“大”字撇画笔势相对圆转，其肥厚的笔肚亦是中侧转换动作熟练的运用，《孔子庙堂碑》撇画近于一条弧线。《兰亭》“之”字捺画可见未完全成熟的前后部分间的转化笔法，《孔子庙堂碑》“之”字则重新失去了提按变化。

在“魏晋古法”中，笔画间的纤丝映带可见清晰的前后承接关系，如《兰亭》“次”字的提笔，可被分解为承接上一笔的顿和启发下一笔的挑两个部分，《孔子庙堂碑》的“提笔”则转化为一个三角状。《兰亭》“为”字字形妍丽，缘其笔画多前后映带，如其首点可见与下一笔画间的连带关系，《孔子庙堂碑》则简化为一个标准点画形式。

美感比较分析

《黄庭经》和《洛神赋》分别为王羲之和王献之的楷书作品，《孔子庙堂碑》基本上是沿袭了王羲之、王献之书法的笔法特点，相似度非常之高，只是较《黄庭经》和《洛神赋》用笔更加圆劲秀润，笔势更加的舒展和洒脱，行书笔意浓厚，行书笔意有《兰亭》中某些笔法的韵味。

《孔子庙堂碑》在《黄庭经》、《洛神赋》的基础上又得到了升华，笔画更趋向于横平竖直，相比而言，《孔子庙堂碑》中宫收紧，以收济放，显得更加舒展；《孔子庙堂碑》继承了《黄庭经》和《洛神赋》外柔内刚，气力沉厚，从容地向外发出，好像在打太极拳，看似漫不经心，但一招一式具有千钧之力，一旦笔到就收，处处恰到好处，没有一点雕琢之气，用笔虽端肃静穆，但仍给人一种动态之感，这一特点与二王风骨神韵相吻合。

另外《孔子庙堂碑》延续了《黄庭经》和《洛神赋》含蓄的特点，从整体上来看，虞世南兼得二王小楷笔法之精髓，一方面吸收了羲之书法的简淡和静穆，另一方面吸收了献之结体的偏长与舒展。

晋人楷书多为小楷，但是小中见大，大气从容，秀气中蕴含着清刚，朴素中流动着典雅，在用笔上非常的灵动，其章法、大小、长短、宽扁、肥瘦，顺其自然，天然而成。而《黄庭经》和《洛神赋》分别为王羲之和王献之的小楷代表作品，作为二王忠实粉丝的虞世南，更是继承了他们小楷的章法特点--纵有行，横无列，与欧楷总有行、横有列的章法不相同。

约而言之，虞体书法继承了二王“尚意重韵”的书法思想，并且通过具体的书法形态表现出来。

the regular script of the early Tang Dynasty combines the strengths of the northern and southern calligraphy styles. If Ouyang Xun represents the characteristics of the northern school and gives play to the vigorous and majestic characteristics of the tablet school calligraphy, Yu Shinan more reflects the east wind of the southern school calligraphy style." if you are a strong general, you may go deep or disadvantageous; if you are a good choice for pedestrians, you rarely lose your words. Yu contains hardness and softness, while Europe exposes muscles and bones. Yu is the best for a gentleman to hide his weapons. " Like the European style calligraphy, Yu Shinan also internalized the transformation of the strokes of "Wei Jin Kai Fa"

" Confucius Temple stele "is the most representative work of Yu Shinan and the most powerful inheritance of the calligraphy of the two kings. Next, I will take Wang Xizhi's Huang Ting Jing, Wang Xianzhi's Luo Shen Fu and Yu Shinan's Confucius Temple stele as the research objects to analyze the formation of Yu Shinan's regular script. < / P > < P style =" margin: 0px 0px 0EM; padding: 0px; outline: 0px; max-width: 100%; clear: both; min-height: 1em; color: rgb(34, 34, 34); font-family: -apple-system, BlinkMacSystemFont, " Helvetica Neue", & quot; PingFang SC", & quot; Hiragino Sans GB", & quot; Microsoft YaHei UI", & quot; Microsoft YaHei", Arial, sans-serif; letter-spacing: 0.544px; text-align: justify; background-color: rgb(255, 255, 255); line-height: 1.75em; visibility: visible; box-sizing: border-box ! important; overflow-wrap: break-word ! important; ">

comparative analysis of morphology < / P > < P style =" margin: 0px 0px 0.5em; padding: 0px; outline: 0px; max-width: 100%; clear: both; min-height: 1em; color: rgb(34, 34, 34); font-family: -apple-system, BlinkMacSystemFont, " Helvetica Neue", & quot; PingFang SC", & quot; Hiragino Sans GB", & quot; Microsoft YaHei UI", & quot; Microsoft YaHei", Arial, sans-serif; letter-spacing: 0.544px; text-align: justify; background-color: rgb(255, 255, 255); overflow-y: auto; line-height: 1.75em; visibility: visible; box-sizing: border-box ! important; overflow-wrap: break-word ! important; "> Ouyang Xun and Yu Shinan are both calligraphers from the Sui Dynasty to the Tang Dynasty. Due to their different methods, their styles are also different. Ouyang Xun's regular script is characterized by surprise, precipitous and dangerous, while Yu Shinan's regular script is characterized by calm, elegant and introverted. From the starting point of horizontal painting, the tablet of Confucius Temple is different from Oukai, but continues the Huangting classic and Luoshen Fu The way to start the pen is very light and agile. When you finish the pen, you turn your wrist to the right, unlike the folding pen of European Kai; From the perspective of writing style, taking the word "Qi" in the picture as an example, the inclination of the two kings is large and the thickness changes obviously, while the monument to Confucius Temple tends to be flat on the basis of the two kings, with a relatively flat and restrained posture and strong writing; The three inscriptions are all round

the vertical paintings of Huangting Jing, Luoshen Fu and Confucius Temple stele are all written with an exposed front. The word" Zhong "in the picture is a hanging needle. Although the vertical in Huangting Jing is short, the change in straightness is obvious. The vertical painting of Confucius Temple stele has the meaning of the vertical painting of Luoshen Fu. Relatively speaking, it is longer, vigorous, straight, less changed and more peaceful, which changes the structural characteristics of the wide shape of Huangting Jing and continues the Luoshen Fu Structural characteristics of partial length. The starting and closing actions of the horizontal painting are very subtle, and the angle is not as obvious as that of the European book. The hanging needle in the vertical painting is sharp but not exposed, which is very implicit and similar to the style of the two kings. In my opinion, the inheritance of regular script in the early Tang Dynasty should be extended from Europe and Yu

the scribbles of the three inscriptions are all painted by Lu Feng. The angle of writing is slightly different. The character" person "in the picture is short in the tablet of Confucius Temple, and the writing meaning of the running script is strong, which is similar to that of Huangting Jing. We can focus on the drawing in the chart, which can be divided into oblique drawing and flat drawing. The oblique drawing is like the drawing of" person "in the chart. The tablet of Confucius Temple learns from Huangting Jing , the writing speed is very fast, forming a virtual sharp point. When writing, the inclination angle is very large, which belongs to one of the very open strokes in Yu Shu. It is flat and pressed like the word "Zhi" in the figure. It is square and round, round and powerful. The edges and corners are not as bright as those in European books, so European books appear more sharp; From the perspective of writing, the rhythm of Huangting Jing is more obvious, with twists and turns, one after another, and the thickness changes more obviously. Finally, there is a very obvious pause pen, and the monument to Confucius Temple is more square, smooth, light and harmonious than that based on Huangting Jing and luoshenfu

through the comparison of the midpoint paintings of" Zhi "," Ruo "and" Wei "in the figure below, it can be seen that the Confucius Temple Monument inherits the charm of the two kings, and the stroke connected with the stippling is broken and connected, such as the dot skimming of the word" Wei "in the figure. In addition, the skimming of the word" Wei "in the Confucius Temple Monument is in the shape of S, which inherits the strokes of the two kings. The three folding paintings are stacked and combined in square and circle, which is more beautiful than the Huangting classic and Luoshen Fu The strokes of running script are stronger, the strokes are smoother, and the writing is stronger and stronger. The vertical hook in the Huangting Sutra is shorter, the inner edge line of the vertical hook is at right angles, and the outer edge line is triangular. The vertical hook in the Luoshen Fu is stronger than that in the Huangting Sutra, while the hook painting in the Confucius Temple stele is more rounded than that in the Huangting Sutra and Luoshen Fu. Without the square strength of the two kings, it looks lighter and more agile, and the cursive brushwork is more obvious

from a vertical perspective, you can compare the regular script in Yu style with that in European style. The regular script in Yu style is mainly composed of round turns and supplemented by round turns, while the regular script in Yu style is mainly composed of round turns and supplemented by round turns. The northern stele traces in European style are all thick and square, while the regular script in Yu style is all mild, which is in sharp contrast to that in European style. From a horizontal perspective, you can compare the regular script in Yu style with that of the two kings. The regular script in Yu style basically inherits the charm of the two kings. Through the above analysis, you can also see that the regular script in Yu style is in two kings Based on Wang's creation, he formed his own style characteristics

in addition, there are many similarities between the running script in the tablet of Confucius Temple and Wang Xizhi's Lanting. As shown in the following figure," if "in the tablet of Confucius Temple, the virtual tip on the short note," the shadow and connection between the two points "and the deficiency above the word" Zi "are similar to Lanting; while" Wei "in the tablet of Confucius Temple The turning point is almost the writing method of running script, which is only slightly thicker than that of Lanting. Of course, changes have taken place on the basis of inheritance