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Regular Script - Copy and Practice Ouyang Xun's Inscription on the Tablet of Jiuchenggong VCD

  • Copy and Practice Ouyang Xun's Inscription on the Tablet of Jiuchenggong
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Regular Script: Copy and Practice Ouyang Xun's Inscription on the Tablet of Jiuchenggong
- Coping and Practicing Calligraphy of Past Dynasties Series
Instructor: Yu Xiaoyong
Language: Mandarin Chinese
Published by Beijing Zhonglutongfang Audio-Visual Publishing House, 2005
Media: VCD
ISBN: 7880106901

The regular script or standard script, or in Chinese kaishu, also commonly known as standard regular, is the newest of the Chinese calligraphy styles (appearing by the Cao Wei dynasty ca. 200 CE and maturing stylistically around the 7th century), hence most common in modern writings and publications (after the non-calligraphic printing Song Ti). It is also occasionally known as true script (zhenshu) and standard script (zhengshu), formal script. It is simpler in structure and square in shape. To be specific, it has more standardized horizontal and vertical. The integral feature of regular script is neatness and orderliness, for which it is widely used and favored today. Regular script became popular in the period of Six Dynasties, and entered prosperity and boom in Tang Dynasty. Yang Zhenqing, Liu Gongquan, and Ouyang Xun were famous calligraphers of Tang Dynasty. Together with Zhao Mengfu in Yuan Dynasty, they were honored together "Four Masters of Calligraphy" in Chinese history. Their works include Yanqin Rite Tablet and Record of Damagu Divine Altar of Yan’s style featuring sturdiness; Mysterious Pagoda and Stele of Wonderful Strategies of Liu’s style featuring strength and power; Danba Tablet, Miaoyan Temple Tablet, and Scripture on the Pagoda of Huadu Temple of Meng’s style featuring elegance and slenderness.

Ouyang Xun (557-641), also named Ouyang Xinben, was a native of today's Changsha of Middle China's Hunan Province. He served under the Sui Dynasty in 611 as Imperial Doctor. He served under the Tang Dynasty as censor and scholar at the Hongwen Academy. There he taught calligraphy. He became the Imperial Calligrapher and inscribed several major imperial steles. He was considered a cultured scholar and a government official. Along with Yu Shinan and Chu Suiliang became known as one of the Three Great Calligraphers of the Early Tang. Ouyang Xun's calligraphy, largely kaishu (regular script), was known for its rigorous and grand strokes as well as its unique order and structure, and was called "Ou Style" by later generations, that was easy for a novice to learn. His kaishu works include Jiuchenggong Liquan Ming (Commemorative Stone Tablet for the Beneficent Spring near the Palace Jiucheng), and the most famous kingship works are Mengdian Tie and Zhanghan Tie. Besides being an expert in kaishu and kingship, Ouyang also wrote excellent lishu (official script).


欧阳询《九成宫碑》是中国唐代著名碑刻,全名为《九成宫醴泉铭》。唐贞观六年(632)建立于唐代离宫九成宫内,即今陕西省麟游县城西端北马坊河口处。碑身为黑色大理石,高2.7米,宽 0.93米,厚 0.27米。承以青绿色麻石龟趺,螭首。碑额篆书“九成宫醴泉铭” 6字。碑侧左有宋元丰年间,右有宋绍圣、明正德、嘉靖年间诸家题名。

碑文为唐代名臣魏征撰,欧阳询书。文字均为 3.5厘米见方的楷书,每行50字,共24行,总计1100余字。碑文记述了唐太宗李世民在九成宫内发现醴泉的经过,描写了九成宫的建筑规模和环境景色,歌颂了唐太宗的文治武功,并劝谏唐太宗戒骄思危,是初唐散文中的一篇佳作。碑文书体修长险劲、刚健秀媚,结体精密谨严,具有极高的艺术价值,是欧阳询书法的代表作,被书法家视为楷书正宗,拓本遍布海内外。见《九成宫醴泉铭》册(宋拓本)。原碑立于露天,由于历代捶拓破坏,字体已多漫漶损伤,失去原形。碑身虽尚完好,但因地震、水灾及人为损坏,已形成 4道裂纹。清嘉庆八年(1803)麟游知县翟云魁曾建房蔽护。至20世纪30年代,碑屋已仅余山墙。1959年,陕西省文物管理委员会拨款构屋保护。1986年,又重修了碑亭。



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