初唐書法家中以歐陽詢（557～641）、虞世南（558～638）和褚遂良（596～658）三人的成就最高，一向有「初唐三大家」之稱。其中，歐陽詢和褚遂良所書碑刻較多，學習者眾，對當時及後代的影響非常之大，早為世人所熟知。而虞世南則因僅有〈孔子廟堂碑〉一種流傳，且原碑曾遭火焚，早經翻刻，又缺乏好的拓本，所以學習的人明顯比較少。故就影響力來說，虞世南似乎不及歐、褚二人。然而，相傳虞世南受筆法於陳僧智永，後來傳給外甥陸柬之，柬之傳子彥遠，彥遠再傳給外甥張旭。然後張旭廣開師門，弘揚八法，對盛、中唐的書法產生很大的影響。溯其源頭，固當在虞世南，而不在歐、褚也。所以若從筆法授受一端看來，虞世南的影響就遠過於歐、褚二人了。貞觀之初，虞世南和歐陽詢一同奉詔在弘文館教習楷法，當時必有學習他的人。而初唐碑刻中不乏帶虞體特徵者，如〈孔穎達碑〉即是，亦可用來說明此一事實。本文即以文獻資料為主，輔以流傳的唐人書跡，嘗試說明虞世南書法在唐代傳習的大致情形。

On the early Tang period, the most accomplished calligraphers are Ouyang Xun 歐陽詢（557～641）, Yu Shi-nan虞世南（558～638）and Chu Sui-liang 褚遂良（596 ～658）, who are known as “the three calligraphic masters of the early Tang”. The influences of Ouyang Xun and Chu Sui-liang on contemporary and future are tremendous, because they have left lots of calligraphic works on stele inscriptions, which provide more possibility for later generations to imitate their calligraphic style. Compared to Ouyang and Chu, Yu Shi-nan’s influence is much less. Because he only left one stele inscription: Confucius Temple stele. The stele had been burnt by fire and been reinscribed in later time, so there did not exist good rubbings of this stele, which apparently limited the numbers of people imitating its calligraphic style. However, it is said that Yu Shi-nan learned the methods of using brush筆法 from the Chen Dynasty Buddhist monk Zhi-yong智永, and imparted the methods to his nephew Lu Jian-zhi陸柬之. Then, Lu passed to his son Yen-yuan彥遠, and Yen-yuan passed to his nephew Zhang Xu張旭. Zhang Xu had so many disciples that they spread the Eight Methods八法 widely and had brought profound influence to the calligraphy of High Tang and mid-Tang. For this reason, we could say that Yu Shi-nan made more contribution on the learning and teaching of the methods of using brush than Ouyang Xun and Chu Sui-liang. Besides, in the early years of Chen-kuan period貞觀, both of Ouyang Xun and Yu Shi-nan received the imperial command to teach writing methods of regular script楷書 in Hung-wen kuan弘文館. In fact, we could find some stele inscriptions of the early Tang possessing the characteristics of Yu style, such as Kong Ying-da Stele孔穎達碑, which means that there must had been someone who learn Yu style. By analyzing text sources and some existing Tang handwritings, this article will try to articulate the general situation of the learning and teaching of Yu style during the Tang dynasty.