Practical Large Character Manuscript (Ou) - Tang Ouyang Xun (Li Quan Ming Selected Characters Book)

Author: Jiang Liping Deng Ying
Publisher:
Publish Date: 2002-06-01
Features: In daily life, writing standardized and aesthetically pleasing characters not only facilitates communication and interaction but also often brings people a sense of power and beauty effortlessly. Chinese calligraphy, with its millennia of continuous development, remains radiant, primarily because it combines both aesthetic and practical functions. Even today, with the widespread use of hard-tip writing and computers, calligraphy still holds an unshakable position. In China, and even in East Asian regions deeply influenced by traditional Chinese culture such as Japan and South Korea, the ability to write well remains one of the criteria for measuring a person's comprehensive cultural literacy. Calligraphy refers to the rules of writing Chinese characters in various scripts (seal script, clerical script, regular script, running script, cursive script) with a conical brush, as well as a traditional plastic art that emphasizes holding the brush, strokes, pen movement, structure, spacing, composition, ink technique, and style. It typically requires the fingers to be firm yet relaxed, with all five fingers working together, the wrist kept level and suspended, and power generated from above. Strokes should be executed with the central axis of the brush, ensuring each stroke reaches its full potential. The structure should harmonize strokes, while the composition and spacing should be varied yet cohesive, conveying the calligrapher's aesthetic taste and personality. To help beginners start well, we have compiled this Practical Large-Character Manuscript. We invited calligraphers to select commonly used and particularly outstanding examples from ancient masterpieces, arranging them in the sequence of strokes and structure for readers to master progressively. Each example is accompanied by supplementary illustrations showing the brush movement process, aiding understanding and practice. This manuscript is selected from the Nine Dragons Screen Inscription (Jiu Cheng Gong Li Quan Ming Bei) by Ouyang Xun at the age of 75 during the Tang Dynasty. Ouyang Xun, styled Xinben, was from Linxiang, Tangzhou. He held high-ranking positions such as the Director of the Prince's Palace and Scholar of the Hongwen Academy, and was enfeoffed as Marquis of Bohai. He was one of the four great calligraphers of the early Tang Dynasty. This stele is renowned for its strict adherence to rules, square and robust brushwork, dynamic yet balanced structure, and is celebrated as the pinnacle of all-generation regular script, making it an excellent model for beginners. Before practicing, beginners must carefully analyze the flow of Ouyang's dots, ensuring the intention precedes the brush. Then, they should boldly apply the brush, spreading the bristles fully, allowing strokes to be slightly thicker than the original to achieve a heavy and full effect. In terms of structure, the square grid can be used to grasp the center of gravity of each character, prioritizing stability and balance. After reaching a certain level, beginners should gradually imitate the Northern Dynasties style with a slight clerical script influence in Ouyang's brushwork, paying attention to the rhythm of brush intent during pressure and release, and reflecting Ouyang's dynamic tension and the rhythm of density and weight in structure. Progress step by step, and success will follow.