Appreciation of European Regular Script Works The copybook is an original regular script font created by Ou Yangxun, a great calligrapher in the Tang Dynasty, which is characterized by Fiona Fang's combination, vigorous stippling and cohesive brushwork. It is steep and rigorous. Keep the side stable, compact and sparse. Ou Yangxun's calligraphy was originally imitated by Wang Xizhi, but it was not limited to one family: it is said that Ou Yangxun once rode out and happened to see a stone tablet written by Suo Jing, a famous calligrapher in Jin Dynasty. He rode on a horse and watched it carefully for a while before leaving, but just a few steps later, he couldn't help but return to dismount and watch. He boasted many times that he didn't want to leave, so he simply laid a blanket and sat down to ponder over it. Finally, he sat by the monument for three days before leaving. Ou Yangxun is obsessed with calligraphy, because he studies and practices hard, and he can find his own way.
The copybook pictures of European classic regular script works must be round and correct, with vertical and horizontal strength and quiet thoughts. When judging the word situation, stop on all sides and prepare on all sides; Long and short fit, compromise thickness; The mind is accurate and the density is accurate. The least busy is the loss; Time can't be delayed, and if it is slow, it will be silly; Not thin, thin when dry, not fat, fat is turbid. The most important thing is to walk slowly and prepare yourself naturally. On July 12, the sixth year of Zhenguan, he asked for a book to pay Liang Nu for a plan.
The representative work of European style is the Tang Dynasty inscription "Jiuchenggong Liquan Ming"
It was carved in Linyou (now Shaanxi) in 632 AD. Wei Zhi wrote, Ou Yangxun wrote. Describe that Emperor Taizong discovered Liquan during his summer vacation in Jiucheng Palace. The brushwork is vigorous and graceful, and there is also proper limit. It is the ideological work of Ou Yangxun in his later years, and it has been highly praised by scholars.
This book is vigorous and powerful. Although stippling is thin and hard, it is full of vitality, and it is implicit to pick up the pen and has the meaning of official script. The font structure is elegant and generous, and the French style is rigorous. It seems fair, but it is actually dangerous. The glyph is rectangular, with large characters and large spacing, and the composition is loose and clear.