Ouyang Tong's regular script was a collection of his calligraphy works. Ouyang Tong was a famous calligrapher of the Tang Dynasty. Like his father, Ouyang Xun, he was known as the " Big and Little Ouyang." Ouyang Tong's regular script copybook was famous for its square and round strokes, tight knots, strong strokes, and condensed strokes. One of his masterpieces was his regular script work, the Stele of Master Daoyin, which was now in the Forest of Steles in Xi'an, Shaanxi Province. Ouyang Tong's regular script was very popular among calligraphy lovers, especially suitable for beginners to practice.
Ouyang Xun was a famous calligrapher in the Tang Dynasty. His calligraphy style was mainly regular script, which was called "European Style". His calligraphy was featured by its rigor, neatness, flat, straight and strong, slightly long but neat and rigorous font, tight middle palace, elongated strokes, and unrestrained momentum. Ouyang Xun had summed up the eight methods of practicing calligraphy in his long-term calligraphy practice. These experiences were regarded as valuable calligraphy theoretical heritage. His representative works included the "Ninety percent Palace Liquan Inscription" and others. Ouyang Xun's calligraphy was recognized as the best in regular script and had an important influence on the history of Chinese calligraphy and the history of calligraphy in the world.
Ouyang Xun's representative calligraphy works included "Jiucheng Palace Liquan Inscription,""Huangfu's Birthday Stele,""Huadu Temple Stele,""Zhongni Dream Dietie," and "Running Script Thousand Words."
Ouyang Xun's main calligraphy works included "Jiucheng Palace Liquan Inscription,""Huangfu's Birthday Stele,""Huadu Temple Stele,""Zhongni Dream Dietie,""Running Script Thousand Words," etc. Among them," The Nine-percent Palace Almond Spring Inscription " was known as the world's first regular script. It described the origin of the " Nine-percent Palace " and the magnificence of its buildings, praising the martial arts, culture, governance, and frugality of Emperor Taizong of the Tang Dynasty. Huangfu Dan Stele's writing style is tight and restrained, strong and unyielding, with the characteristics of thin and strong calligraphy style. His works, such as Stele of Huadu Temple, Dream of Zhongni and Thousand-Character Writing in Running Script, also showed Ouyang Xun's unique insights and talents in running script. These works had an important position in the calligraphy world and were widely regarded as Ouyang Xun's representative works.
Ouyang Xun's representative works included the Inscription of Jiucheng Palace's Liquan, the Stele of Huangfu's Birth, and the Inscription of the Buddhist Monk's Stupa in Huadu Temple. Ouyang Xun's calligraphy was strict, neat, and upright. Although his font was slightly longer, it was divided into white, neat and rigorous, the middle palace was tight, and the main pen was elongated, making it seem bold and unrestrained, sparse and dense, all sides were prepared, exquisite, lively and just right. In terms of the combination of dots and the arrangement of the structure, most of his words expanded to the right, but the center of gravity was still very stable. There was no sense of tilting, but the interest of danger in the right. Ouyang Xun's regular script was mostly in regular script. His writing style was square, slightly formal, strong and meticulous. His calligraphy was called the European style, which emphasized the strength of his fingers. The strokes he wrote were strong and firm, and the backbone was contained. It was neither too thin nor too full. Every stroke was too long and too short. The weight was appropriate and the length was just right.
Ouyang Xun's calligraphy works include "Jiucheng Palace Liquan Inscription,""Huangfu Dan Stele,""Huadu Temple Stele,""Huadu Temple Yi Zen Master Stupa Inscription,""Yu Gonggong Wen Yanbo Stele,""Zhongni Dream Dian Tie,""Running Script Thousand Words,""Bu Shang Tie,""Zhang Hansi Perch Tie," etc.
Wen Tong (1896-1979) was a famous painter, poet, writer and calligraphy master in modern China. Wen Tong's poems and essays were mainly composed of landscape paintings and flower works. His style was fresh and natural, and his pen and ink were exquisite, full of emotion and depth of thought. His poems often showed his love for nature and his thoughts and feelings about life. He was known as the "landscape and idyllic poet". His calligraphy and painting works were also very unique, especially his landscape paintings and calligraphy. His landscape painting advocated "morale and spirit of brush and ink", using natural landscape as the material, using concise brush and ink to express the charm and momentum of nature, giving people a fresh, natural, deep and quiet feeling. His calligraphy was based on regular script, running script, and cursive script. The strokes were concise and smooth, and the combination of official script, regular script, and cursive script formed a unique calligraphy style. He was known as one of the representatives of the "Landscape and Pastoral Calligraphy School". Wen Tong was a multi-talented artist. His poems, calligraphy and painting had high artistic achievements and cultural implications, which had a profound impact on the development of modern Chinese culture and art.
There were many versions of the Preface to the Orchid Pavilion, including Wang Xizhi's original work, Feng Chengsu's copy, Zhao Mengfu's copy, etc. Wang Xizhi's Preface to the Orchid Pavilion was regarded as a model for running script by later generations. Li Shimin, Emperor Taizong of the Tang Dynasty, once ordered Chu Suiliang, Ouyang Xun, Feng Chengsu and other calligraphers to copy several copies and give them to his subjects. In addition, Feng Chengsu and Zhao Mengfu also had their own copies. For beginners, they could choose Feng Chengsu's copy to practice. In addition, there were some copybooks and practice methods for reference, such as practice magnified version, using color printing version, tracing red copybooks, etc. In short, the selection of the Preface to the Orchid Pavilion calligraphy copybook should be decided according to personal preferences and learning needs.
The Seventeen Calligraphy Forms was one of Wang Xizhi's representative works of cursive script. It was a group of famous cursive calligraphies from the Tang Dynasty, composed of Wang Xizhi's letters. There were 107 lines and 943 characters in the Seventeen Calligraphy Forms. It was written for 14 years and was an important material for studying Wang Xizhi's life and the development of calligraphy. The style of this group of posts was blunt and elegant, neither aggressive nor fierce, showing a kind of fair and peaceful atmosphere. It was regarded as the supreme model for learning cursive script and was regarded as the "dragon and elephant in the book" by calligraphers. The order of the " Seventeen Calligraphy " was also very particular. From the calm dotting at the beginning to the unrestrained and unrestrained in the middle, then to the regular script that was slightly rested, and finally to the wild cursive script as the end. The entire post was like a symphony. Although the Seventeen Calligraphy Forms was a printed copy, it could still be used as a reference to learn the painting method.
Sang Wenci was a famous calligrapher who enjoyed a high reputation in the Chinese calligraphy world. He was born in 1913 and was a famous teacher of his generation in Ningbo. He was known as the highly respected Three Wonders of Literature, Poetry, and Calligraphy. Sang Wenci formed his own theoretical thoughts in calligraphy practice, emphasizing that "the brush must be strong, the qi must be sufficient, the momentum must be complete, and the emotion must be true", and he combined calligraphy with literature, music, painting, sports and other artistic forms. His calligraphy works were considered to have a unique charm and were included in many calligraphy anthologies. Sang Wenci was also one of the authors of the "Four Artists of Jinling". His works showed the fusion of classical and modern, and were considered one of the most collectible calligraphy works in contemporary China.
Wu Zetian was a talented empress, and her calligraphy attainments were also highly praised. The most famous of her calligraphy works was the Stele of the Immortal Prince, which was regarded as one of the 100 most beautiful calligraphy works in China. This stele was inscribed in 699 AD. It had 33 lines, 66 words per line, and a total of 2162 words. On the top of the Immortal Ascension Crown Prince Stele, the words 'Immortal Ascension Crown Prince Stele' were written in Fei Bai style, forming a bird-shaped stroke, showing her unique calligraphy style. Her calligraphy strokes were tactful and fluent, and her strokes were sonorous and sonorous. Her style was vigorous and unrestrained, and she was known as the head of women's calligraphy. Her calligraphy had been influenced by Wang Xizhi, and she was especially good at Fei Bai Shu and Xing Cao Shu. Although her calligraphy remains were few, her works displayed her profound calligraphy skills and unique artistic charm.