"Jiucheng Palace" is very familiar to everyone, the Ming people call this stele "the first book", its use of the pen square, and in the square to see the danger, the shelf is open and stable. Ming Chen Jiru once commented: "This post is like a deep mountain to a person, thin and hard and cold. ”
Through computer software, we enlarged such a steep and beautiful "Jiucheng Palace" and found a different sense of beauty! Especially in the details, this can really "see the edge of the pen through the blade". So beautiful!
We enjoy it while explaining it briefly. The "Jiucheng Palace Stele" can be said to be an epoch-making masterpiece in the works of the early Tang Dynasty, and in terms of style composition, it has both the pen meaning of seal and li, and the legacy of Jin and Wei. Its appearance had a great influence on the development of later generations of calligraphy. From the calligraphy of the Jiucheng Palace, we can see that there are many characters directly taken from the penmanship of the seal.
As a book written by Ouyang When he was seventy-five years old, this stele was written by edict, and when his calligraphy was already in full swing. Therefore, the pen of the whole stele is meticulous, strong and precise, and has always been considered to be the representative work of Oushu. This stele has both square and round paintings, steady and subtle, and is plump and thick compared to the "Emperor Fu's Birthday Monument". In the thick and uniform, it contains profound skill.
The horizontal canvas is neatly arranged, slightly upturned, the vertical pen is straight and strong, and the vertical curved hook retains the meaning of the calligraphy. The structure seems to be stable and upright, and the combination of the upturned and structural aspects of its horizontal painting makes people feel steep and oblique. This kind of structural characteristics of stability and risk, and seeking stability in danger, is the distinctive personality of Ou Shu.
The overall vertical painting of this stele is stretched, and the structure is rectangular; the corresponding vertical paintings on the left and right are often concave, and the glyphs are towering and tall and slender, and Tang Zhang Huaihuan described Ou Shu as "Sensen Yanruo Arsenal". This style is also a major reason for the pursuit of European sports by later generations.
When studying "Jiucheng Palace", we must pay attention to its pen method between square circles, sometimes with square pens, sometimes with round pens, sometimes with circles in squares, and sometimes squares in circles. When using the square pen, the pen is strong and crisp, and when using the round pen, the writing is dignified, mellow and just right, which has become a feature of the calligraphy pen of Ouyang Inquiry's "Jiucheng Palace".
As everyone's Ouyang Inquiry, it is possible to continuously explore the ideal realm in a neat and stable manner. From the "Jiucheng Palace", we can see that Ouyang Que has made a lot of bold and successful attempts in this regard, and while straightening out the work, he is not satisfied with horizontal and vertical, but strives to be vivid from the danger, and seeks danger in the middle of the flat. The contradiction between movement and static is organically combined to produce a flat and correct effect in a higher sense, which is where the unique and lofty artistic realm of Ouyang Qianyishu is reflected.
The graphics and text originate from the Network, if there is infringement, please contact to delete!