"Shrugging into mountain characters, burying his shoulders and not out of his head, who is on the horn of the family, painting this macaque" This is the tang Dynasty prime minister Sun Wuji's evaluation of Ouyang Qian's appearance, which means that he shrinks his head and shoulders, hunches his back, and lives like a macaque monkey who has just come out of the mountain.
Born in a chaotic world, strange and ugly, the family was destroyed, several times captured, bear the insult... All of this happened to Ouyang Yuan," but he never paid attention to it, because he understood that "all appearances are illusory." Appearance and origin are just the shells of the temporary living in the world, and only by being strong in ability can we break the illusion and flow through the ages!
As we all know, the "four masters of calligraphy" in the history of Chinese calligraphy are Ouyang Qing (European body) of the Tang Dynasty, Yan Zhenqing of the Tang Dynasty (Yan body), Liu Gongquan of the Tang Dynasty (Liu body), and Zhao Mengfu (fǔ) (Zhao body) of the Yuan Dynasty, because of their outstanding achievements in calligraphy, they are honored by later generations as the four calligraphers of the calligraphy. Among them, Ouyang Qian's calligraphy method is rigorous, both square and round, the dot painting is strong, and the pen strength is condensed. It remains robust in the middle of the side and does not lose its looseness in compactness. It is sought after by generations of bookmakers and is regarded as the crown of calligraphy.
What we appreciate today is the Xiaokai "Li Yu Epitaph" written by Ouyang Que at the age of 77, which is strong and gentle in penmanship, and has both subordination and intention, which is Ouyang Que's later years of jingyi.
"Li Yu Epitaph", carved in stone in the Tang Dynasty, was made in the eighth year of Zhenguan (634 AD), also known as "Li Cemetery", full name "Tang Dynasty Zuo Guanglu Doctor Shangzhu Guo DeguangJun Gong Li Cemetery Inscription".
Newly excavated in 2014, it is square, 58.5 cm high and 58.5 cm wide. The surrounding wall is engraved with 12 genera phase patterns. The inscription has thirty-six lines, each line is thirty-six words, and the actual inscription is 1249 words. Small letters, the width of the text is about 1 cm. Unlike the tombstone, the epitaph is buried in the tomb and is difficult to see without accidental excavation.
The owner of the epitaph, Li Yu, and Qiu Shi are both famous ministers of the founding of the Tang Dynasty, so it is not surprising that the epitaphs of the two were written by Ouyang Qinggong, a calligrapher who was highly respected by the Tang Dynasty.
This stele casts the characteristics of the Han Li and Jin Dynasty calligraphy, and also participates in the Six Dynasties inscriptions, which can be said to be the strengths of each family. The main feature of the calligraphy style is rigorous and neat, flat and steep.
The glyph is slightly longer, the cloth is white, neat and rigorous, the middle palace is tight, the main pen is elongated, it appears imposing, there are sparse and dense, all sides are prepared, eight sides are exquisite, the charm is vivid, just right.
The combination of dot painting and the structural arrangement is flat and steep, the center of gravity is very stable, there is no sense of oblique tilting, and it is interesting to be dangerous.
The whole article is neatly written, slightly submissive, and the pen is strong and meticulous.
Compared with Ouyang Yuan's most famous "Jiucheng Palace", this Zhi calligraphy, as the peak of Ouyang Que's later years, is more open, flexible, vivid, and more old-fashioned.
If "JiuchengGong" is full of low-key rational colors, then "Li Yu's Epitaph" has more perceptual factors for Ouyang Que to interpret his personal style, and the small characters of wanton and Juanxiu are full of danger, quaintness and vigor.
When writing this epitaph, Ouyang Inquiry was already an elderly man, and at this moment, writing an epitaph for others should have a lot of feelings in his heart.
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