What are the characteristics of Ou Yangxun's Inscription of Liquan in Jiuchenggong?

65438+ plus a circle in the square, Fiona Fang is integrated and elegant.

2. The strokes are symmetrical and steady. Unlike Yan Zhenqing's and Liu Gongquan's regular script, the contrast of stroke thickness is obvious, but each stroke contains change, not rigidity and monotony. Horizontal canvases are arranged neatly; The vertical pen has more potential to take the back; Bending and straightening; And there are many vertical and thin waists, which are thin and beautiful.

3, how calm and restrained the pen is. The method of hiding and protecting is used for collection and collection; The front and tail are short and the edges are adducted; After the hook is frustrated, push the nib flat to make a small hook, not a long hook; Some strokes are hooked back like hooks, and the strokes are concise; The right hook borrowed the official script "Wei Yan".

4, multi-purpose stippling replacement, change smart, interesting and unique. Some take Han Li's brushwork to stand horizontally instead of points, which is simple and heavy; Borrowing Wei Bei's brush gesture, using short strokes instead of points is strong and powerful; Some reference books are written with pens, and dots are used instead of dots, which is lively and dexterous.

Extended data:

The Inscription of Liquan in Jiucheng Palace is a masterpiece of Ou Yangxun in his later years. It has always been respected by scholars as an authentic regular script, and it has been praised as "the first regular script in the world" or "the first official book in the world" by later generations.

This paper narrates the origin of Jiucheng Palace and the grandeur of its architecture, praises the martial arts and frugality of Emperor Taizong, introduces the discovery of Liquan in Miyagi, and quotes ancient books to explain that the emergence of Liquan is caused by "the emperor is virtuous". Finally, the warning of "aim high, persevere and avoid excess" was put forward.

The calligraphy of Jiuchenggong Liquan Ming is vigorous. Although stippling is thin and hard, it is rich and full, and the pen is implicit, which has the meaning of part of Li Quanming's calligraphy in Jiuchenggong. 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.

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