Ouyang Xun Regular Script Aesthetic Thought

Ouyang Xun was a famous calligrapher who went through three dynasties.His calligraphic thoughts influenced calligraphy scholars of all dynasties,especially his regular script.Because of the needs of modern work and daily writing,his regular script has a very wide influence.Ouyang Xun is a calligrapher worth studying.This paper tries to explore his regular script aesthetics from the perspective of Chinese calligraphy theory.Ouyang Xun’s regular script can shine brightly in the early Tang Dynasty,and it has a lot to do with the background of The Times,the evolution of calligraphy and his life experience.It can be regarded as taking advantage of the east wind and riding the momentum.The changes of the official selection system in the early Tang Dynasty encouraged a large number of lower-class people and students to start reading,learning literature and writing and embark on the road of the Imperial examination system and official career.Following the natural law of the development and evolution of calligraphy,the official script evolved into the regular script,which was a natural choice for People’s Daily use and also a necessary way for the development of calligraphy.The development of the regular script became mature in the Sui and Tang Dynasties."Well read the history of classics,especially fine three history",love calligraphy and hard work in learning,finally make his calligraphy reputation.Ouyang Xun advocated the psychological aesthetic thought of "clarifying the spirit and thinking about the mind" in his calligraphy theory works "Teaching Mojin" and "Eight Mojin".This was influenced by the philosophy of Lao Zhuang,who advocated the idea of "quietness" and believed that only when one’s mind was calm,one could perceive all things,understand one’s own heart,and achieve the state of unity between nature and man.In this case,it is possible to express the will and create good calligraphy works.He also inherited and developed the calligraphers CAI Yong,Wei Shuo,Wang Xizhi and so on.The main content of the aesthetic thought of calligraphy creation is "Chengshen Quiet thinking" in the "Teaching Mojin" : "Every brush must be in the right circle,the strength of the horizontal and horizontal weight,concentration and meditation",and in the work "Eight Mojin" : "Chengshen quiet thinking,at the end of the right face,thinking about life while holding the brush,Linchi Zhi Yi" and so on.In Ouyang Xun’s calligraphy theory,there are both psychological aesthetics of creation and aesthetic thoughts of lettering.In the Eight Mojin and the Thirty-Six Fa,the strokes emphasized in the Eight Mojin are symbolically interpreted for specific strokes.The content of "Thirty-six Law" is thirty-six knot character rule,which reflects the dialectical relationship between the guest of honour,partiality and density,and has the aesthetic style of "four sides stop evenly,eight sides are flat" knot character.There are also traces of Ouyang Xun’s aesthetic thoughts on the conclusion of regular script,such as Madame Wei’s Brushwork,Wang Xizhi’s Madame Qi Wei’s Brushwork,and Zhiguo’s calligraphy theory,"Ode to the Heart".Ouyang Xun regular script aesthetic thought has great influence on later generations.Such as the four in the other regular script everyone,Yan Zhenqing,Liu Gongquan’s regular script has the characteristics of the European style regular script;From the four masters of Su Huang Mi CAI in Song Dynasty,Yuan Dynasty,Ming Dynasty,Qing Dynasty and Republic of China to the present,many famous calligrapher practiced Ou Kai in their early learning of characters.In modern society,the influence is mainly reflected in calligraphy education in primary and secondary schools.In recent years,the Ministry of Education and other relevant institutions have successively issued guidance opinions on calligraphy education.Eight officially designated calligraphy books for primary school education have been published,five of which use regular script of Ouyang Xun.