What are the most traditional Chinese fonts?

In each typeface, according to the various styles, they are also named after the calligrapher's surname, like in the regular script, there are Ou Style (Ouyang Xun) Style, Yan Style (Yan Zhenqing), Liu Style (Liu Gongquan), Zhao Style (Zhao Mengfu), and so on. It is really a dizzying array of styles. One font, however, is not the founder's last name, and is named after the name of the dynasty, which is the Song font.　　The founder of the Song font was Qin Hui. When people think of Qin Hui, they naturally think of a treacherous minister who was a slave and a murderer of loyal people. Qin Hui was a learned man who was very skillful in calligraphy. He synthesized the strengths of his predecessors and created his own style, creating a typeface for printing. According to the general custom, it should be called Qin Style Script. However, because of his poor character, he was a representative of the surrender faction in the struggle against the Jin Dynasty, and had killed the national heroes Yue Fei and his son on trumped-up charges, and became a thousand-year-old sinner, so people hated him, and although they applied the typeface created by him, they named the typeface as Song Style. Most of today's newspaper body text is in Song font.　　The Song font originated in the Song Dynasty, but it was established in the Ming Dynasty. During the Song Dynasty, culture flourished as never before, with the promotion of culture and education and the suppression of military affairs. The printing and publishing industry entered a golden age in the Song Dynasty, with the flourishing of engraving and printing, the rapid development of book-engraving centers, and the invention of movable-type printing. A large number of Song books were reproduced in Yuan and Ming, and Song characters were established in the Ming Dynasty. Song characters are easy to write and engrave, the font is beautiful and dignified, adapted to the requirements of the printing and publishing industry, and became the witness of the Song Dynasty cultural creation.　　Two Sources of Song Characters Today's Song characters should have two sources. The first is the art of Chinese calligraphy. Chinese writing appeared at a very early stage, and like all other forms of writing in the world, it was initially based on pictograms. Early Chinese characters were inscribed on animal bone fragments and cast on bronze vessels, which are called oracle bone inscriptions and bell and ding inscriptions, and before that, there were only inscribed symbols and legendary records, with no physical evidence.　　Oracle bone inscriptions are the divinations written on tortoise shells and animal bones during the Yin and Shang dynasties. Because it is written on the different shapes of the oracle bone pieces, carved and written is not good to change, so the first people follow the trend, a one-two punch. The overall effect is either neat and orderly, or varied and random, reflecting the nature of human beings to pursue balance and symmetry, harmony and stability. From the perspective of the development of Chinese characters, it is roughly a process of development: oracle bone inscriptions, gold inscriptions, big seal scripts, small seal scripts, official scripts, cursive scripts, regular scripts to imitation Sung and Song characters, which reflects the general tendency of human beings to pursue the programmed simplicity, balance, symmetry and unity.　　In 221 B.C., Qin Shi Huang established the first unified, centralized feudal state in the history of China, and immediately adopted the suggestion of his prime minister Li Si, who issued a decree on "writing in the same script", abolished all the different and complicated scripts of the former vassal states, and replaced them with the Big Seal Script, designing a new style of writing and implementing it throughout the country, which is the "Small Seal Script". This is the "Small Seal Script". Now it seems that this is the most intelligent move of Qin Shi Huang, because through force only in the geographical territory of the unification of China, and the unification of the "book with the same text", in fact, in the national psychology, culturally united the Chinese people, so that the central empire in the Qin after the wars or whether or not, whether or not foreign domination, whether or not, divided and merged, are just dynastic changes. In the end, all of them were integrated under the great banner of Chinese characters, and flourished and developed.　　During the Han Dynasty, the centralized system of power was further developed and strengthened as the Han Dynasty inherited the Qin system. The Han Emperor Wu, who was a great strategist and conquered the East and the West, constantly expanded the territory of the centralized empire, and in order to ensure the eternal security of the borders, he established the system of cantonment, which enabled Chinese culture to spread and take root rapidly in the borders. This system allowed Chinese culture to spread rapidly and take root on the frontiers, and also demanded higher quality, speed and quantity of information dissemination. At this time, the Small Seal Script was gradually simplified and evolved into the Official Script, known as the "Official Transformation". This change was not only due to the fact that the Small Seal Script was complicated and difficult to write, and there was a demand for change, but also because the main reason for this change was closely related to the invention and popularization of the brush, the writing tool of the Chinese people. It was the writing form of the brush that transformed the pictorial nature of the seal script by squaring and straightening it, shifting the pictorial nature of the Chinese characters to abstraction and initially forming the characteristics of the strokes of dots, horizontal, apostrophes, presses, verticals, lifts, hooks, folds and the appearance of the square glyphs that constitute the basic elements of the Chinese characters.　　In addition, at that time, officials sometimes needed to write official documents quickly, and some of the strokes were connected to each other when writing the official script, which gave rise to the so-called cursive scribe. On the other hand, the Chinese characters were also changing towards a neat and square, simple and clear programmed direction, which gave rise to the Regular Script. The Han Dynasty already had the four main styles of Chinese calligraphy, the Zhen, the Cursive, the Official, and the Seal Script.　　Next is the second source, the emergence of engraving and printing. The invention of engraved printing was the result of a long historical development, which was initially embodied in ancient seals, sealing clay seals, inscribed seals and seals. With economic development, the need for book production and dissemination accelerated the development and popularization of engraving.　　Engraving, in which the reverse characters of an article are engraved either in the masculine or the feminine on a special wooden plate, and then top-printed with ink and paper, is one of the four great inventions of China, and its history can be traced back to the Tang Dynasty or earlier. At that time, the craftsmen used the regular scripts of the three major calligraphers of the Tang Dynasty as the original pro-engraving, initially pro-engraving, and later gradually added the craftsmen's own wisdom, and combined with the characteristics of the carving knife and woodblock material, so as to make the calligraphic font more standardized and easier to carve and write.　　Early engraving of the engraving of the font, often by the calligrapher writing regular script by the engravers directly after the reverse topography after the pro-engraving, the engravers have great respect for the calligrapher, the engraving of the font are as far as possible to preserve the characteristics of the calligrapher. Therefore, also has a strong flavor of regular calligraphy. This kind of character is today we call "imitation Song font" predecessor, is also the "Song font" predecessor. As a result, the evolution of the Song character was from Regular Calligraphy to Imitation Song Style to Song Style through engraving and printing technology. But why is it that the Imitation Song Style, which was created in the Tang and Song dynasties before the Song Characters, is called Imitation Song Style? Originally, this is China's entry into the lead movable type printing, in 1916, China's famous calligrapher, seal engraver Ding Fuzhi and Ding Shanzhi two brothers reference to the Northern Song dynasty ancient carving of the good copy of the production of the name "Juchan imitation Song" at that time. After that, Shanghai huafeng mold casting institute, the hundred song casting printing factory have a variety of imitation song style came out. Today, the imitation of the Song font has become China's hard-copy characters.　　Engraving and printing to the second Song period, due to the social stability and peace, rapid economic development, political enlightenment, the common people can also enter the civil service through the imperial examinations, so the social reading culture is flourishing, the government and the people have the habit of hiding books, even in the countryside in a number of well-off families also hide thousands of volumes of books. Engraving and printing of books was spread throughout the city and the countryside, the Song Dynasty was the golden age of engraving and printing for more than 300 years, and its technology also influenced the countries of the East and Japan, and even enlightened the European continent.　　Due to the growth of social demand for books, engravers and must be faster, more and better to complete the task. Therefore, summed up a set of fast carving method, in copying the basis of the regular script, make full use of the characteristics of the carving knife, the regular script for transformation processing, in the use of the least knife work conditions, carving out the regular script to be signs, which formed what we call today the Song character. The Song character occurred in the Tang and Song dynasties, but matured in the Ming Dynasty, which is why it is called the "Ming Dynasty style" in Japan, our eastern neighbor.　　In the process of copying the regular script of the Tang Dynasty, the engravers unknowingly accomplished the great task of programming the Chinese characters, paving the way for the standardization of the modern Chinese character printing typeface. It can be said that Song characters inherited the essence of Chinese calligraphy from the top, initiated the standardization and programming of Chinese characters from the bottom, and raised the speed of the spread of Chinese characters to a brand-new platform all of a sudden.　　The two sources of Song characters flowed into one place and came together to form Song characters. Therefore, the Song character is in the same lineage as Chinese calligraphy, and is a terminal interpretation of the regular script of Chinese calligraphy. It very skillfully and rationally reflects the essential characteristics of the Regular Script of Chinese Calligraphy in the form of carving knives and traditional printing techniques, and is recognized by the Chinese nation. [edit paragraph] The Aesthetic Rhythm of Song Characters The combination of Chinese calligraphy and engraving produced Song Characters, which therefore not only have the charm of Chinese calligraphy, but also have the rhythm of engraving and woodblock knife-carving.　　Song characters have inherited the aesthetic flavor of Chinese calligraphy[edit paragraph]Chinese Cultural Characteristics of Song Characters Song characters originated in the Tang and Song dynasties and flourished in the Ming and Qing dynasties, with a history of more than 1,000 years, and Song characters have been in use for thousands of years without much change in tangible culture. The form of Song characters and its spiritual qualities have also influenced generations of Chinese people.　　Since childhood, Chinese people have been practicing writing in small and large square books, and their teachers require them to write the characters in the square according to the order of the strokes of the font, in an even and centered manner, without deviating from the square or overstepping the square, and to manage the position of the strokes within the square, to give way to each other, and to arrange every stroke and every stroke and make good use of every small space. There are characters with one stroke, but there are also characters with more than ten strokes, such as "hu" and "ding", how to arrange the relationship between the strokes of the character and the coordination of the black and white of the fewer strokes and the more numerous strokes, all of which must be treated flexibly. It is these factors that have formed the national character of traditional Chinese people who are good at doing things in a disciplined and trustworthy manner and good at managing their positions. The Chinese character "田" is also a lattice, indicating a divided paddy field. Traditional Chinese people, by keeping to the lattice of one acre and three-quarter of a field, cultivate the field carefully, help each other, make full use of it, make a big one out of a small one, and make use of the space with ease and ease, and they are actually able to feed the whole family. Song characters directly inherited the spirit of Chinese Regular Calligraphy, and without a trace, transformed Chinese Regular Calligraphy into printed Song characters, and y influenced our aesthetic taste. The square and smooth, symmetrical and balanced, undulating and yielding font structure, the dignified and elegant, stretching atmosphere, the proper use and the pursuit of exquisite spiritual connotation of Song characters are all influencing our behavior all the time.　　The aesthetic spirit of Song characters has undoubtedly been y rooted in the spiritual temperament of the Chinese nation, and in its development, constantly injected into the Song, Yuan, Ming and Qing aesthetic ideals of the times and the connotation of the humanistic spirit of the Chinese nation, and become the garment of Chinese culture. Since it is the garment of Chinese culture, we should pay attention to it, protect it, cherish it and develop it. However, at present, the study of Song characters is in a state of wandering in terms of understanding and attitude, and it is not at the strategic level of Chinese cultural development to pay attention to it and recognize it. As a result, there are many deviations in the understanding and application of Song characters. Nowadays, we often regard Song characters as art characters, which is very wrong in professional books and magazines. Song characters directly inherited the essence of Chinese calligraphy and Chinese calligraphy has a lineage relationship, not only is the clothing of Chinese culture, but also the Chinese culture of the formal dress. Therefore, it is important to point out that the Song character is not an art character, it is the original Chinese character. Artistic characters are various fonts that have been beautified, decorated, processed, and designed for the original Chinese characters. According to the aforementioned research on the origin of Song characters, their correct positioning should be as follows: Imitation Song characters (early Song characters, now the orthographic characters of the hard-copy characters) Regular script Various kinds of artistic characters Design Online. Chinese Song characters (mature Song characters, orthographic characters for printing) In addition, there is a difference in strokes between imitation Song characters and Song characters. Song font is not suitable for writing with a hard pen because certain strokes of certain characters are specially designed due to the carving of the carving knife, e.g., 走字旁. In Japan, Song-like characters are called textbook characters. This is very favorable to elementary school students who are learning Chinese characters for the first time. Therefore, our dictionaries for elementary school students should be labeled with the Song font alongside the Song characters.　　Since Song is the original Chinese character, we should study it and give it its due status. However, we are obviously lagging behind Taiwan, Hong Kong and neighboring Japan in the study of Song characters. If we compare our current Song characters with each other, we will find that the overall effect of our current Song characters is not as good as that of Hong Kong and Taiwan, which includes structural problems as well as the problem of the font's charisma. Chinese characters have more strokes and are pictograms, so there are many subtle relationships in the structural treatment. A little difference in the layout of dots and paintings will affect the overall structure of the font, and the flavor of the brushstrokes has no traditional calligraphic flavor and carving traces of traditional printing, which will affect the connotation of the Song characters, and this requires special people and institutions to study. Of course, there are some factors after the simplification of Chinese characters, some simplified Chinese characters do not take into account the simplified structure of the form of the problem, such as "Guang" and "Guang" after the simplification of the Guang character is obviously left in the space, it is not easy to center, handwriting is often its stroke intentionally leaning inward, in order to achieve balance! Centering.　　In the 1960s, China's Song character had a peak, and one of its representative fonts was designed by the Live Character Research Office of the Shanghai Institute of Printing Technology. At that time, Mr. Qian Juntao, a famous seal carver and calligrapher, was hired as a consultant to organize a generation of excellent old carvers, young artists and calligraphers who are good at writing block letters to form a high-level research team to tackle the problem, and completed the design task of the Song one for the Dictionary to choose from. Another representative is the Song Ershi, which was specially designed by the Shanghai Mould Factory for the Selected Works of Mao Zedong. At that time, this was a top political task, the state attaches great importance to it, and devoted to it. Today, however, the task of designing Song characters has long been commercialized, and the research of fonts is done by private enterprises. Due to the lack of macro-strategic thinking in culture, coupled with the cultural fault line during the Cultural Revolution and the disdain of today's professional designers for the work of font design, the Song characters nowadays obviously lack the spiritual connotation of traditional Chinese culture. In terms of the use of Song characters, there is an endless variety of art characters today, with unknown users and designers blindly following the trend. Without an accurate grasp, many need to use the Song character to show the Chinese culture dignified and elegant, stretching the atmosphere of the place, but with the current so-called fashionable fonts, such as government plaques, letters, desk head with the synthesis of the body.