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The `!regular script`!`:cite-ref-names-1-0[`F5bf`_`[a`#cite-note-names-1]`_`f] is the newest of the major `F33f`_`[Chinese script styles`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Chinese_script_styles]`_`f, emerging during the `F33f`_`[Three Kingdoms`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Three_Kingdoms]`_`f period c. 230 CE, and stylistically mature by the 7th century. It is the most common style used in modern text. In its traditional form it is the third-most common in publishing after the `F33f`_`[Ming`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Ming_typefaces]`_`f and `F33f`_`[Gothic`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=East_Asian_Gothic_typeface]`_`f types used exclusively in print.`:cite-ref-2[`F5bf`_`[1`#cite-note-2]`_`f]
>>Contents
• `F0af`_`[History`#history]`_`f
• `F0af`_`[Characteristics`#characteristics]`_`f
• `F0af`_`[Derivative styles`#derivative-styles]`_`f
• `F0af`_`[Computer typefaces`#computer-typefaces]`_`f
• `F0af`_`[Gallery`#gallery]`_`f
• `F0af`_`[Notes`#notes]`_`f
• `F0af`_`[References`#references]`_`f
• `F0af`_`[Citations`#citations]`_`f
• `F0af`_`[Sources`#sources]`_`f
-─
>>History
The `*Xuanhe Calligraphy Manual`* (宣和書譜) credits Wang Cizhong with creating the regular script, based on the `F33f`_`[clerical script`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Clerical_script]`_`f of the early `F33f`_`[Han dynasty`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Han_dynasty]`_`f (202 BCE – 220 CE). It became popular during the `F33f`_`[Eastern Han`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Eastern_Han]`_`f and Three Kingdoms periods,`:cite-ref-footnoteqiu2000143-3-0[`F5bf`_`[2`#cite-note-footnoteqiu2000143-3]`_`f] with `F33f`_`[Zhong Yao`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Zhong_Yao]`_`f (c. 151 – 230 BC),`:cite-ref-footnoteqiu2000142-4-0[`F5bf`_`[3`#cite-note-footnoteqiu2000142-4]`_`f] a calligrapher in the state of `F33f`_`[Cao Wei`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Cao_Wei]`_`f (220–266), being credited as its first master, known as the father of regular script. His famous works include the `*Xuanshi biao`* (宣示表), `*Jianjizhi biao`* (薦季直表), and `*Liming biao`* (力命表). Palaeographer `F33f`_`[Qiu Xigui`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Qiu_Xigui]`_`f`:cite-ref-footnoteqiu2000143-3-1[`F5bf`_`[2`#cite-note-footnoteqiu2000143-3]`_`f] describes the script in `*Xuanshi biao`* as:
`*...clearly emerging from the womb of early period semi-cursive script. If one were to write the tidily written variety of early period semi-cursive script in a more dignified fashion and were to use consistently the pause technique [(頓; `*dùn`*)], used to reinforce the beginning or ending of a stroke when ending horizontal strokes, a practice which already appears in early period semi-cursive script, and further were to make use of right-falling strokes with thick feet, the result would be a style of calligraphy like that in the "Xuān shì biǎo".`*
However, very few wrote in this script at the time other than a few literati; most continued writing in the neo-clerical script, or a hybrid form of semi-cursive and neo-clerical.`:cite-ref-footnoteqiu2000143-3-2[`F5bf`_`[2`#cite-note-footnoteqiu2000143-3]`_`f] The regular script did not become dominant until the 5th century during the early `F33f`_`[Northern and Southern period`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Northern_and_Southern_period]`_`f (420–589); there was a variety of the regular script which emerged from neo-clerical as well as regular scripts`:cite-ref-footnoteqiu2000146-5-0[`F5bf`_`[4`#cite-note-footnoteqiu2000146-5]`_`f] known as '`F33f`_`[Wei`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Northern_Wei]`_`f regular' (魏楷; `*Wèikǎi`*) or 'Wei stele' (魏碑; `*Wèibēi`*). Thus, the regular script is descended both from the early semi-cursive style as well as from the neo-clerical script.
The script is considered to have become stylistically mature during the `F33f`_`[Tang dynasty`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Tang_dynasty]`_`f (618–907), with the most famous and oft-imitated calligraphers of that period being the early Tang's Four Great Calligraphers (初唐四大家): `F33f`_`[Ouyang Xun`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Ouyang_Xun]`_`f, `F33f`_`[Yu Shinan`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Yu_Shinan]`_`f, `F33f`_`[Chu Suiliang`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Chu_Suiliang]`_`f, and `F33f`_`[Xue Ji`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Xue_Ji]`_`f, as well as the tandem of `F33f`_`[Yan Zhenqing`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Yan_Zhenqing]`_`f and `F33f`_`[Liu Gongquan`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Liu_Gongquan]`_`f.
During the `F33f`_`[Northern Song`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Northern_Song]`_`f (960–1127), `F33f`_`[Emperor Huizong`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Emperor_Huizong_of_Song]`_`f created an iconic style known as 'slender gold' (瘦金體; `*shòujīntǐ`*).`:cite-ref-6[`F5bf`_`[5`#cite-note-6]`_`f] During the `F33f`_`[Yuan dynasty`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Yuan_dynasty]`_`f (1271–1368), `F33f`_`[Zhao Mengfu`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Zhao_Mengfu]`_`f (1254–1322) also became known for his own calligraphic style for the regular script, called `*Zhaoti`* (趙體).
92 rules governing the fundamental structure of regular script were established during the `F33f`_`[Qing dynasty`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Qing_dynasty]`_`f (1644–1912); the calligrapher Huang Ziyuan wrote a guidebook illustrating these rules, with four characters provided as an example for each.
>>Characteristics
The `F33f`_`[Eight Principles of Yong`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Eight_Principles_of_Yong]`_`f encapsulate varieties of most strokes that appear in the regular script.`:cite-ref-footnoteli200965-7-0[`F5bf`_`[6`#cite-note-footnoteli200965-7]`_`f] Regular script characters with dimensions larger than 5 cm (2 in) are usually classified as 'large' (大楷; `*dàkǎi`*); those smaller than 2 cm (0.8 in) are usually classified as 'small' (小楷; `*xiǎokǎi`*), and those in between are 'medium' (中楷; `*zhōngkǎi`*).`:cite-ref-footnoteli200931-8-0[`F5bf`_`[7`#cite-note-footnoteli200931-8]`_`f]
Notable works written in regular script include the Northern and Southern-era `*Records of Yao Boduo Sculpturing`* (姚伯多造像記) and `*Tablet of General Guangwu`* (廣武將軍碑), the Sui-era `*Tablet of Longzang Temple`* (龍藏寺碑), `*Tombstone Record of Sui Xiaoci`* (蘇孝慈墓誌), and `*Tombstone Record of Beauty Tong`* (董美人墓誌), and the Tang-era `*Sweet Spring at Jiucheng Palace`* (九成宮醴泉銘).
>>Derivative styles
• `F33f`_`[Fangsong`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Fangsong]`_`f typefaces are based on a printed style which developed during the `F33f`_`[Song dynasty`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Song_dynasty]`_`f (970–1279)
• The most common printed typeface styles, `F33f`_`[Ming`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Ming_typefaces]`_`f and `F33f`_`[sans-serif`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=East_Asian_Gothic_typeface]`_`f, are based on Fangsong
• Japanese textbook typefaces (教科書体; `*kyōkashotai`*) are based on regular script, but modified so that they appear to be written with a pencil or pen. They also follow the `*`F33f`_`[jōyō kanji`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Jōyō_kanji]`_`f`* character forms.
• The `F33f`_`[bopomofo`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Bopomofo]`_`f semi-syllabograms are nearly always written using regular script strokes.
>>Computer typefaces
>>Gallery
>>Notes
`:cite-note-names-1`!a.`! `F0af`_`[↑`#cite-ref-names-1-0]`_`f Regular script is referred to by several related names in Chinese, including 楷書; 楷书; `*kǎishū`*, 正楷; `*zhèngkǎi`*, 真書; 真书; `*zhēnshū`*, 楷體; 楷体; `*kǎitǐ`*, and 正書; 正书; `*zhèngshū`*. It is sometimes called `*block script`*,`:cite-ref-footnotegao200941-10-0[`F5bf`_`[8`#cite-note-footnotegao200941-10]`_`f] `*standard script`*, or `*square style`* in English.
`:cite-note-shengjiaoxu-9`!1.`! 其數然而天地苞 乎陰陽而易識者 以其有象也陰陽 處乎天地而難窮
>>References
>>>Citations
`:cite-note-2`!1.`! `F0af`_`[↑`#cite-ref-2]`_`f "Chinese Writing", `*Asia Society`*, retrieved 2023-10-01
`:cite-note-footnoteqiu2000143-3`!2.`! `F0af`_`[↑`#cite-ref-footnoteqiu2000143-3-0]`_`f `F33f`_`[Qiu 2000`#citerefqiu2000]`_`f, p. 143.
`:cite-note-footnoteqiu2000142-4`!3.`! `F0af`_`[↑`#cite-ref-footnoteqiu2000142-4-0]`_`f `F33f`_`[Qiu 2000`#citerefqiu2000]`_`f, p. 142.
`:cite-note-footnoteqiu2000146-5`!4.`! `F0af`_`[↑`#cite-ref-footnoteqiu2000146-5-0]`_`f `F33f`_`[Qiu 2000`#citerefqiu2000]`_`f, p. 146.
`:cite-note-6`!5.`! `F0af`_`[↑`#cite-ref-6]`_`f "Huizong", `*Encyclopædia Britannica`*, 2024
`:cite-note-footnoteli200965-7`!6.`! `F0af`_`[↑`#cite-ref-footnoteli200965-7-0]`_`f `F33f`_`[Li 2009`#citerefli2009]`_`f, p. 65.
`:cite-note-footnoteli200931-8`!7.`! `F0af`_`[↑`#cite-ref-footnoteli200931-8-0]`_`f `F33f`_`[Li 2009`#citerefli2009]`_`f, p. 31.
`:cite-note-footnotegao200941-10`!8.`! `F0af`_`[↑`#cite-ref-footnotegao200941-10-0]`_`f `F33f`_`[Gao 2009`#citerefgao2009]`_`f, p. 41.
>>>Sources
• `:citerefgao2009`aGao, James Zheng (2009), `*Historical Dictionary of Modern China (1800–1949)`*, Lanham, MD: Scarecrow, `F33f`_`[ISBN`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=ISBN_(identifier)]`_`f 978-0-810-84930-3
• `:citerefli2009`aLi, Wendan (2009), `*Chinese Writing and Calligraphy`*, Honolulu: University of Hawai‘i Press, `F33f`_`[ISBN`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=ISBN_(identifier)]`_`f 978-0-8248-3364-0
• `:citerefqiu2000`a`F33f`_`[Qiu Xigui (裘锡圭)`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=Qiu_Xigui]`_`f (2000) [1988], `*Chinese Writing`*, translated by Mattos, Gilbert L.; Norman, Jerry, Berkeley: Society for the Study of Early China and The Institute of East Asian Studies, University of California, `F33f`_`[ISBN`:/page/wikibook/entry.mu`zim=wikipedia_en_all_nopic_2025-08.zim|entry_path=ISBN_(identifier)]`_`f 978-1-55729-071-7
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