Xia Liang, born in Beijing in January 1985, is a famous calligrapher in China. He already had a book title in his youth. Now he is the first among the ten outstanding figures of China Regular Script Network. His calligraphy skills in European regular script are very high. Below is the Xia Liang Ou Kai calligraphy that I compiled for you. I hope it will be useful to you!
Appreciation of Xia Liang Ou Kai calligraphy
Xia Liang Ou Kai calligraphy Picture 1
Xia Liang Ou Kai calligraphy picture 2
Xia Liang Ou Kai calligraphy picture 3
Xia Liang’s Ou Kai calligraphy picture 4
Xia Liang’s personal profile
Xia Liang, courtesy name Qinglian, was born in Beijing in 1985. He is mainly engaged in calligraphy research and teaching. Graduated from the School of Applied Arts and Sciences of Beijing Union University. He started studying regular script when he was young. He was smart, eager to learn, and diligent. He already had a reputation for books in his youth. Now he is the first among the ten outstanding figures of China Regular Script Network. He started learning calligraphy at the age of seven, focusing on Ouyang Xun's regular script. He also studied calligraphy from famous calligraphers such as Wang Xizhi and Zhao Zi'ang. He has been taking daily classes for 20 years. He is good at real calligraphy, especially Ouyang regular script. He has solid basic skills and strong copying and imitation abilities. During his schooling, he won the Soong Ching Ling Scholarship, the Beijing Yinfan Award, and the Dongcheng District Outstanding Student. He won the first prize in calligraphy competitions of Beijing and Dongcheng District Primary and Secondary School Art Festivals many times, and won gold medals in many international calligraphy competitions.
1995.10 Won the Calligraphy Excellence Award in the Third Chinese Calligraphy and Seal Engraving TV Competition; 1997.8 Won the Silver Sail Award for Beijing Primary and Secondary School Students issued by the Beijing Municipal Education Commission; 1996-1998 Won the First Prize in the Beijing Primary and Secondary School Students Art Festival Competition Award; 1998.4 Won the first prize in the Third National Children's Art Calligraphy Competition; 1998.5 Won the highest honor scholarship and medal issued by the Soong Ching Ling Foundation of the People's Republic of China and the Ministry of Education; 1998.10 Won the Second Sino-Japanese Calligraphy and Painting Elite Invitational Competition for Youth Gold Medal; 1998.8-1999.8 Won the first prize in the National Primary and Secondary School Students Art Calligraphy Competition issued by the Ministry of Education of the People's Republic of China and the Ministry of Education for two consecutive years; 2001.8 Won the Gold Medal at the China-Japan Friendship Calligraphy Exhibition held by the Beijing Calligraphers Association. Calligraphy works (price per square foot), increase and outlook list (after tax), increase in the past three years: 800 yuan/square foot in 2011, 1,000 yuan/square foot in 2012, 1,300 yuan/square foot in 2013
Characteristics of writing in regular script
The strokes of the brush are weighted, just as the brush strokes are fat or thin. No matter fat or thin, they are all more valuable than the center. If you can use the center, you will be fat and strong, and you will be plump even if you are thin. , the small regular script written by Zhong Yao and Yan Zhenqing has plump strokes. It looks fat but strong, and looks turbid but is actually clear. There is a gentle and elegant atmosphere between the lines. However, Wang Xizhi's small regular script is not heavy on thick and light on fine. , moderate fatness and thinness, short and well proportioned, strong and quiet, elegant and elegant, which is valued by the world. Therefore, when using a brush in regular script, you don’t want to be too fat. If it is too fat, the texture will be turbid. If the texture is turbid, the stipples will be bloated and dirty. It will be slow and fleshy. If you are fat and turbid, it will be boneless, which will give you the impression of a black pig. You also don’t want to be too thin. If it is too thin, The shape is withered. If the shape is withered, the pen will be thin, flat, dry and exposed, thin and hard without flesh, resulting in the so-called withered bones.
When using regular script, no matter whether you are fat or thin, you should focus on the strength of your bones. Before you correct your bones, you should focus on your attitude first. If you don’t know the center, you will always talk about fatness and infertility. This is a method that ignores the foundation and the end of the picture. There are some thought-provoking words in Tang Taizong's "Zhiyi". He said: The husband's calligraphy uses the expression as the essence. If the spirit is not harmonious, there will be no attitude and ears; the heart is the sinews. If the heart is not strong, the words will have no strength. Take the auxiliary hairs as the skin. If the auxiliary organs are not round, the words will not be warm and moist. The heart and auxiliary organs are used in conjunction with each other, and the spirit and energy are harmonious. ?The so-called heart refers to the center of the pen, which is also like the muscles and bones of the character. The auxiliary hair is on both sides, and is also like the skin of the character. The flesh must wrap the sinews, and the bones must hide the flesh. Only when the pen is used can it be rounded. If it is round, it will be suitable for both fat and thin people. proportionate.
When using a brush in regular script, there are changes in weight, weight, and straightness. If the top and bottom are flush, the front and back are equal, straight and similar, and shaped like an operator, this kind of writing without fluctuations will inevitably lead to a flat pattern. The shortcomings of rigid engraving. Bao Shichen said in "Li Xia Bi Tan": When a mortal is alive, he must be soft and moist; when he dies, he must be hard and dry. The same is true for plants and trees. If they are soft and moist, they will be round in both fat and thin, and if they are hard and dry, they will be flat in both length and length.
The straightness of regular script stipples is a kind of elastic force, which is expressed through a curvaceous form, just like the physical beauty of an athlete. Let’s take a look, which stroke in the "Eight Methods of Yongzi" is straight? Similarly, even very upright hanging dews and hanging needles are full of changes in hardness, softness, curvature and thickness. When writing small regular script, the brush should be curved and straight, straight and curved, combining strength and gracefulness. With uprightness included in the posture, it can naturally achieve the effect of complementing hardness and softness.