When was Ou Yangxun in the Tang Dynasty?

Ou Yangxun (557-64 1), Han nationality, was born in Hengzhou (now Hengyang) in 557 AD, and his ancestral home was Linxiang (now Changsha, Hunan), and he was one of the four masters of regular script (Ou Yangxun, Yan Zhenqing, Liu Gongquan and Zhao Mengfu). Dr. Taichang, the official of Sui Dynasty, was named Prince of Gengling in Tang Dynasty, also known as "Ouyang Gengling". Together with the other three contemporaries (Yu Shinan, Chu Suiliang, Xue Qi), they are called the four masters of the early Tang Dynasty. Because his son Ouyang Tong is also good at calligraphy, he is also called "Big Europe". Ou Yangxun is known as the first regular script in Tang Dynasty for his rigorous brushwork and precipitous brushwork. He and Yu Shinan were both famous for their calligraphy in the early Tang Dynasty, also known as "Ou Yu". Later generations saw the danger in the book, and they were the first to understand it. His name is "Oti", and his words are commented by many people. Ou Yangxun is clever and diligent. He has read several lines at the same time. When he was a teenager, he was proficient in Historical Records, Hanshu, Dongguan Han Ji, especially calligraphy, almost to the point of obsession. 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 first imitated Wang Xizhi in calligraphy, and then found his own method. In particular, his bold and vigorous block letters and rigorous statutes were regarded as the standard by later calligraphers and handed down as "European style". In the Tang Dynasty, the calligraphy evaluation work "Shu Duan" said: "Ask eight styles, and the pen is strong and dangerous. Seal script is particularly refined, flying white crown, superior to the ancients. Disturbed the image of the dragon and snake fighting, the cloud is as light as a cage, just like a god. The book of true behavior is out of order and incomplete. As dense as an armory spear and halberd, Shen Feng is stricter than wise and brave, not as good as Shinan. His cursive script has been circulated repeatedly and can be regarded as two kings. But he was shocked and didn't avoid danger, and he was hurt by Qing. " Ou Yangxun Jiucheng Palace posted the Song Dynasty's Xuan He Shu Pu, and praised its regular script as the "crown of calligraphy". According to historical records, Ou Yangxun is ugly, but his calligraphy is world-famous. People are scrambling to get his handwriting. Once they get it, they will regard it as Gui Bao's model of their own calligraphy. During the period of Tang Wude (6 18-624), Korea (now North Korea) sent envoys to Chang 'an to ask for Ou Yangxun's calligraphy. Tang Gaozu Tang Gaozu sighed: "I didn't expect Ou Yangxun's reputation to be so great that even Yidi in the distance knew it. When they see Ou Yangxun's handwriting, they must think he is a big man. " Ou Yangxun died in the Zhenguan period at the age of 80. The ink handed down behind him includes posts and Hans' posts, and the inscriptions include Jiuchenggong Li Quanming and Huangfu's birthday tablet, all of which are treasures of calligraphy art. Later generations called him "the four great calligraphers of the early Tang Dynasty" together with Yu Shinan, Chu Suiliang and Xue Qi. Ou Yangxun is not only a great calligrapher, but also a calligraphy theorist. In his long-term calligraphy practice, he summed up eight methods of practicing calligraphy, namely, "like a peak falling from a rock, like a crescent moon in the sky, like a thousand miles of clouds, like a dead vine, like a loose tree, like a cliff, like a crossbow, like a sword breaking a rhinoceros horn, like a pen". Ou Yangxun's Tactics of Teaching Calligraphy, Theory of Using Calligraphy, Eight Methods and Thirty-six Methods are all summaries of his own experience in learning calligraphy, which specifically summarize the formal skills and aesthetic requirements of calligraphy, such as using calligraphy, structure and composition, and are valuable heritages of calligraphy theory.