Ouyang Xun's Regular Script 2, Collected Sentences and Couplets from "Liquan Ming" in the Jiucheng Palace

Author: Tian Dengyue (Editor-in-Chief) / Sun Yunhong (Editor)
Publisher:
Publish Date: 2005-07-01
Features: A practical and rapid calligraphy learning book, meticulously refined and arranged based on the structural principles, writing methods, and practical requirements of Chinese characters. This book features the "Hui Zi Si Jiao Duozhe Ge" (Square Grid with Folded Corners) for practicing calligraphy. This grid design was developed by analyzing existing grids such as the square grid, Tianzi grid, Jiugong grid, Mizigrid, and Hui Gong grid, and by referencing traditional Chinese methods for folding paper when writing couplets or horizontal scrolls. After rigorous theoretical research and practical application, it was introduced to the public. The "Hui Zi Si Jiao Duozhe Ge" is highly convenient to create and use—simply fold the paper into an outer square grid and an inner square grid, resembling the character "Hui," then diagonally fold the grid to form an X shape in the center. This grid combines the strengths of various practice grids while avoiding their weaknesses. It eliminates the need for rulers, allows for flexible sizing, facilitates stroke arrangement, and simplifies structural composition. It enables learners to quickly grasp the structural principles and writing methods of Chinese characters, making it a highly practical approach to calligraphy learning. The content of this book is curated from the representative works of influential calligraphers throughout Chinese history, selecting characters and compiling sentences and couplets based on practical needs. Its primary purpose is to enhance learners' interest in copying classic calligraphy works and guide them to quickly master practical calligraphy skills. By combining learning with application, it helps learners achieve twice the result with half the effort. This practical calligraphy learning book integrates stroke techniques, structure, layout, and practicality, combining theoretical guidance with creative practice, serving as a shortcut for learners to enter the realm of calligraphy art.
Ouyang Xun (557–641 AD), styled Xinyen, was a native of Linxiang, Tanzhou (now Changsha, Hunan). Ouyang Xun was short in stature and unremarkable in appearance, yet possessed extraordinary wisdom and profound knowledge of Confucian classics and history. He dedicated himself to calligraphy with unwavering focus. Once, while passing by the Stele of Su Jing from the Jin Dynasty, he was so captivated by its mysteries that he lingered for three days, deeply contemplating its secrets.
As early as the Sui Dynasty, his calligraphy was already renowned. His correspondence was regarded as a model for others to follow, and he once served as a Doctor of the Court of Imperial Sacrifices. During the Tang Dynasty, he was appointed as a Senior Attendant of Silver and Green Robes, Director of the Prince’s Guard, and Scholar of the Hongwen Academy, and enfeoffed as a Male Marquis of Bohai County. He was regarded as one of the "Four Great Calligraphers of Early Tang," alongside Yu Shinnan, Chu Suiliang, and Xue Ji.
Ouyang Xun’s calligraphy was rooted in the style of the "Two Wangs" (Wang Xizhi and Wang Xianzhi) and inherited the traditions of Northern Wei stele calligraphy. He selectively learned from various schools, excelled in innovation, and crafted a unique style known as the "Ouyang Style." His calligraphy was praised by Tang Dynasty scholar Zhang Huaijing as "proficient in all eight calligraphic styles, with powerful, sharp, and flying white brushwork that surpassed the ancients. His style was as fierce as dragons and snakes clashing, with the dense momentum of clouds and mist, resembling weapons in a military arsenal."
Ouyang Xun’s regular script is characterized by precise strokes, square yet smooth lines, robust and dynamic structures, meticulous composition, and a balanced richness. His brushwork is neither too thin nor too thick, displaying both sharpness and depth. His calligraphy is highly regarded by learners throughout history, often serving as a model for study. It has had a profound influence on later generations.
In Ouyang’s calligraphy, square strokes are primarily used, with occasional round strokes. When writing, he often hides the brush tip at the start, builds power with a strong yet restrained movement, and often ends with a returning stroke. His strokes emphasize mutual correspondence, and strokes with the same flow of energy are varied. Horizontal and vertical strokes are square, creating a solid and orderly structure. Hook and oblique strokes occasionally use round techniques, adding flexibility and liveliness. Hook strokes resemble those in clerical script, with full and stable forms. Turns are often square but slightly rounded, combining sharpness with depth.
The structure of Ouyang’s calligraphy is stable and strict, displaying both balance and dynamism. The more dynamic the character, the more stable it appears. Although the shapes of Ouyang’s characters vary in length, size, and slant, and his strokes are dynamic and varied, they still convey an extraordinary sense of stability.