The Artistic Features of Ou Yangxun's Inscription of Liquan in Jiucheng Palace in Tang Dynasty

1, angular and square. The north of the monument is written with a pen, and the points are mostly triangular, revealing nature; The methods of up and down, hook tail and turning are commonly used, with strong square folding and tough square shoulders. However, we should pay attention to the circle in the square and the integration of Fiona Fang, and avoid being nervous and neglecting elegant manners. Such as "giant, Yu, Yang, Guo".

2. The strokes are symmetrical and moist. The strokes of the tablet are well-proportioned, delicate and strong, and the brushwork is slow and steady. Unlike Yan and Liu Jieshu, the contrast is obvious, but each stroke changes to avoid rigidity and monotony. The horizontal canvas in the monument is neatly arranged; The vertical pen has many back potentials and is flexible; Bending and straightening; And there are many vertical and thin waists, which are thin and beautiful. Such as "Ben, Yue, Qing and Ruin".

3, dignified and subtle, noble and simple. How calm and restrained the writing board is with a pen. The method of hiding and protecting is used for collection and collection; The front and rear ends 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 borrows the method of official script "Wei Yan", which is relaxed, concise and scattered, and has a unique charm. Such as "left, right, Dan, Yue".

4, stippling replacement, seeking change in the middle. Wordpad is often replaced by stippling, which is flexible, interesting and unique. If Han Li's brushwork is adopted, and horizontal and vertical points are used instead of points, the park will be heavy (the first point is short horizontal, and the left point of the cover is short vertical); Borrowing Wei Bei's brushwork, replacing points with short strokes, which is strong and powerful (such as the upper right point of "Ge"); The brushwork of reference books is lively and dexterous, eg short in the frame. Such as "elephant, foot, training, marsh".

Second, the structural characteristics of the ritual spring Ming in Jiucheng Palace:

1, left and right backs, high posture. The European structure tends to converge, and the vertical position is opposite. The waist is thin and healthy, the middle palace is slightly compact, and the upper and lower parts are more exposed, just like a cold valley. The body looks thin, hard, cold and free and easy. Such as "instrument, lubrication, well, trend".

2, the shape is gathered and released, and the fire is opened. Although the main body of the tablet has converged, there is no lack of Xu Yusheng's trend. In Chinese characters, the main strokes, such as long horizontal or long vertical strokes, Si Long strokes and goose hooks, tend to lengthen (especially to the right), the spacing between palaces is appropriate, the blank space is appropriate, and the structure is compact but not informal. Such as "Gu, Wei, Xiang and Yao".

3, oblique transformation, flat and dangerous. This monument is rigorous in structure, but full of strange interests. We can set each other off obliquely, turn static into dynamic, seek the balance of force in the movement changes such as tilting, leaning, containing, leaning, avoiding and echoing, and reach the realm of "knowing the danger and strengthening, returning to the right" Such as "work, dedication, credit and application".

4, big and regular, small and alive. The monument has a regular shape and a straight posture, but it pays great attention to avoiding similarities and seeking differences, which can combine local flexibility with overall dignity and danger. For fonts and stippling, methods such as simplification (back, back), replacement (Wei, Hu), removal (painting, old), addition and subtraction (building, body) are used to carry out abnormal deformation, which can change in statutes and show the spirit in subtleties; It also contains the meaning of running script, which is more expressive, drifting away and handy. Divide horizontally and vertically, hook up to give birth to meaning, stipple to look forward to pitching, full of gas, and not stagnant, and a good structure will come out. Such as "nothing, glory, harmony, and disciples."

In a word, although the European book is thin and stiff, its structure is tight and steep, but it contains beautiful bones, and its brushwork is relaxed without losing its charm. Don't exaggerate when you study, but concentrate, which will make you rigid, boneless and become a rigid and cold beggar. It is necessary to combine risks and embellishments with Fiona Fang's efforts and gain momentum. It is necessary to cultivate wonderful understanding, grasp the correspondence between "copying form" and "writing spirit", and strive to achieve "both form and spirit"