Ouyang Xun experienced both the Sui and Sui dynasties, and his calligraphy "Plain in the middle but dangerous in the middle" happened to absorb the characteristics of pre-Qin calligraphy, leading the regular script to its peak of prosperity, which is unattainable. Looking at his calligraphy art, both the description and the layout are influenced by the pre-Qin calligraphy style! Jiucheng Palace Liquan Inscription is the pinnacle work of Ouyang Xun's regular script. The whole stele is as shown below: Ou's regular script dots are like "falling rocks during peak period", and its strange dangers are also caused by dots, such as the three dots of water in the picture below, which represent a state of weightlessness in predicament. , is in danger, but it is solved one by one through the strokes and overall layout of other characters. It combines strangeness and danger with stability, and is dignified without losing its coolness.
The first is the personality significance of pre-Qin calligraphy. Its calligraphy style is desolate, simple, simple, rich, pure, and profound, highlighting individuality. The second is Chengxu Zhuan Li, which has an ancient aura, is calm and mellow, light and pure. European style calligraphy is in the lineage of the two kings and is the pioneer in the perfection of regular script. Although the ancient quality has improved today, and the character construction techniques have become more perfect and varied, but the end is far away, and the aura is still there. Reflected in the visual depiction, it can be seen that the Wei stele technique is simple and comfortable, and the legal system is relaxed and stretched, and it has a more casual and simple interior space than the strict hierarchy of the Tang Dynasty.
Ouyang Xun’s calligraphy art refers to the new style created by Wang Xizhi. Shown in their powerful techniques. The structural type adheres to Wang Xizhi's rules of running horizontally and vertically, with interesting light and darkness, symmetry on all sides, with eight sides, short and long lengths, the most suitable size, closeness, sparseness and uprightness, and integration of spirit and space. Take the brush level and do a little bit at a time, like a falling stone at the peak. Standing upright is like a long-lived withered vine. A horizontal movement is like a formation of clouds thousands of miles away. With a flick, it is like a sharp knife cutting off the horn of a rhinoceros. Make one stroke and often break it three times. Make a lying hook, like the first moon in the sky. Make a nudge and fold the hook horizontally (nu), like the hair of a crossbow with a sword.
Ouyang Xun also inherited the concepts and cognitive abilities of the literati group, which is also the first level of inheritance. In fact, it is the core concepts and values ????that I often talk about now, which are also the most important artistic characteristics. Ouyang Xun made further improvements based on the pre-Qin conditions, making the character structure appear even, the character structure is careful and meticulous, the middle palace is tightened, the limbs are stretched, the squeeze and relaxation are moderate, and the character structure is creative, but the basic principles are still maintained. The charm of ancient people ushered in the heyday of calligraphy art in the prosperous period of the Tang Dynasty, making regular regular script popular.