Bo Shang's Post (see photo), paper version, 25.6 in length and 16.6 cm in width. There are two ancient seals on the post, and the content is unrecognizable. Before the post, there is Song Huizong's thin gold book titled "The Book of Tang Ou Yangxun". Bo Shang's Post was once combined with Zhang Hansi's Perch Post, which entered the Imperial Palace in the Song Dynasty and was owned by Feng Xuan in the early Qing Dynasty, and was engraved into the Quick Snow Hall Post. After that, it was transferred to the inner government of Qing Dynasty, and it was engraved in Sanxi Hall Fattie. This post is now in the Palace Museum in Beijing.
In the European book ink, except the Thousand Characters, all the other three inks are suspected to be copies. For example, Chen Jiru thought that "The Book of Song Dynasty" was a temporary copy. But it's all speculation, and there's no evidence. In fact, Bo Shang Tie, Dream Diantie and Zhang Hansi Lutie all belong to Ou Yangxun's "Historical Tie" (Ou Yangxun recorded several kinds of ancient people's biographies and merged them into one set, collectively known as "Historical Tie"), which was later dismantled, and only three posts remain today. The characters of Zhang Hansi's Lutie are close to those of Qianziwen, while Meng Diantie is full of the lingering charm of the right army, but Bo Shang Tie is unique. The brushwork of "Bo Shang Tie" is folded in many ways, revealing a person's paper, picking up a strong hook, writing with certainty, clear handwriting, and showing traces of angular north monument and strong Fang Jun, and the individual brushwork is even as folded as that of "Shi Ping Gong Statue". This reminds us of Wang Xianzhi's "Twenty-ninth Post", in which the words "Japan" and "China" are also Jun Fang's strong health. If Bo Shang Tie, which was inscribed more than 1 years later than the Northern Dynasties, was influenced by the calligraphy of the Northern Dynasties, what about Twenty-ninth Tie, which was inscribed more than 1 years earlier than the Northern Dynasties? It can be seen that this kind of square-folded and vigorous brushwork is not a patent of the Northern Dynasties. At the same time, does it also show that Fang Bi in the Northern Dynasties' inscriptions was not just carved by the hand?
In Bo Shang's Post, the word "Li", especially the second word "Li", is very similar to the word "Li" in Wang Xizhi's Post of Mourning Disorders, and some words also have the meaning of "Post of Frequent Sorrow", which shows that Ou Yangxun has been consciously studying the calligraphy of the right army at this time. This post is not dated, but some researchers think it was written by Ou Yangxun in his later years. Judging from the brushwork of the Northern Dynasties and the imitation of the structure of the right army, this post is not likely to be Ou Yangxun's work with personal style characteristics in his later years, but the slender structure is consistent with the Thousand Characters. However, the brilliance of this post is beyond doubt. For example, there are no similarities in the thickness and strokes of several horizontal paintings of the fourth word "Book" in the first line; The brushwork and gesture of the fifth word "Ru" in the third line and the third word "Shen" in the fourth line are varied and clear. The words "Yu" and "Fu" are Ou Yangxun's own features.
on the whole, the first three lines of this post, especially the first two lines, are full of meanings, and the writing is firm and sharp. After writing, it was slightly relaxed, and the meaning of running script increased, and Jin people and their own faces began to flow out. After careful examination of this post, it is suspected that the brush used is short and hard, that is, the so-called "jujube heart pen"
Ou Yangxun is an important figure in the history of calligraphy in China, with a great reputation. He has written many suicide notes and many apprentices. He also wrote Fu Shannu's Teaching Tactics, Using the Brush and Thirty-six Methods and Eight Tactics. He is a calligrapher with both practice and theory.