Nine-Ten Palace Liquor Spring Inscription - Enlarged Selection

Author: Wu Zhiguo (Editor)
Publisher:
Publish Date: 2005-03-01
Features: The "Series of Enlarged Ancient Stele and Calligraphy Manuscripts" takes commonly used calligraphy steles as the basis for learning, selects typical character examples, and organizes them by stroke, radical, structure, or variant forms of the same character. It also incorporates technical methods such as character enlargement and stele flipping, making it a preferred choice for calligraphy learners and teachers as well as a valuable teaching reference. This volume is compiled based on the "Yanta Shengjiao Xu" (Holy Teaching Order of the Yanta Stele) written by Chu Suiliang of the Tang Dynasty.
Ouyang Xun (557-641) was a native of Linxiang, Tanzhou. He served as the Prince's Attendant and was known as "Ou Yang Shu Geng." He was one of the four great calligraphers of the early Tang Dynasty. His calligraphy style, which was influenced by Wang Xizheng but developed into his own unique style, is known as "Ou Style." The "Liquan Stele of the Jiucheng Palace" is one of the most renowned works in Ouyang Xun's legacy. Built in the sixth year of the Zhenguan era (632), it was a late-career commission from the imperial court and has become a classic model for practicing regular script calligraphy throughout history. As the epitome of Ou-style regular script, the "Liquan Stele of the Jiucheng Palace" exudes a calm and composed demeanor, with strict and square structures, and an inwardly contained essence. The characters are elongated, with the left side compressed and the right side extended. The strokes are precise, with clear starting and ending points, each character appearing clear and deliberate, without a single rushed stroke. The structure is rigorous, seeking balance while embracing (risk and danger).
When practicing single-character calligraphy, pay attention to the following points:
1. The starting and ending of strokes should be clean and sharp. Allow slight traces of brushwork between strokes to create a sense of connection and flow, avoiding stiffness and lifelessness.
2. Strive for strokes that are moist and full, with strong bones and supple flesh, to avoid an overly thin and rigid appearance that reveals the flaw of bone-like hardness.
3. You may appropriately emphasize the effect of horizontal strokes being lower on the left and higher on the right to appreciate the structural risk and the subtle ingenuity hidden in straightforwardness.