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'''Ouyang Xun''' the Chinese calligrapher and scholar-official of the early Tang dynasty (557-641) who is remembered as one of the greatest masters of regular script and whose orderly, tightly structured characters became a model studied by later generations. He served at the courts of the Sui and Tang dynasties and is counted among the four great calligraphers of the early Tang.

== Early Life and Official Career ==
Ouyang Xun was born in 557 in Linxiang, in the region of Changsha in present-day Hunan province, during the chaotic years that followed the collapse of the Chen dynasty. His family was one of the great southern aristocratic clans, and tradition holds that his father and grandfather held office under the Chen. After the Sui unification of 589 the family entered the service of the new imperial government, and Ouyang Xun began a bureaucratic career that spanned the last years of the Sui and the first decades of the Tang.

Under the Sui he held posts in the imperial library and in the administration of the eastern capital Luoyang, where he gained access to the great collections of manuscripts and rubbings that shaped his understanding of earlier calligraphy. When the Sui fell in 618 he was already a mature man of about sixty, and rather than retire he entered the service of the founding Tang emperor Gaozu.

Under the second Tang emperor Taizong he rose to high office, serving as a senior adviser, as an official in the imperial chancellery and eventually as one of the emperor's most trusted ministers. He was also appointed to oversee the education of the heir apparent and helped to organise the compilation of an authoritative text of the classics for use by the state. He died in 641 at the advanced age of eighty-four, honoured by the court he had served for so long.

== Calligraphy and the Kai Style ==
Ouyang Xun is chiefly celebrated for his regular script, known in Chinese as kaishu, the disciplined, upright script used for formal documents, inscriptions and stone steles. His characters are famous for their compactness and their extreme structural logic, with strokes placed so precisely that almost no space can be moved without upsetting the balance of the whole. The result is a style that appears severe and controlled, and it became one of the standard models for the script.

He drew on the long tradition of southern calligraphy that ran from Wang Xizhi and his son Wang Xianzhi through the Sui masters, and he studied the surviving inscriptions and manuscript copies with unusual thoroughness. From these sources he forged a manner distinctly his own, distinguished by square, angular turns, firm and even pressure, and a keen sense of proportion between long and short strokes.

His mature style is often said to be the meeting point of the official script of the Han and the elegant running script of the southern courts, transformed into something austere and monumental. Because so many of his works were cut into stone, his hand survived the centuries more completely than that of most calligraphers of his age, and his name became inseparable from the ideal of the well-ordered regular script.

== Major Works and Inscriptions ==
Among his most celebrated works is the Inscription on the Sweet Spring at Jiucheng Palace, engraved around 632, which records a spring discovered near a Tang imperial summer retreat. The text is admired for the purity of its regular script and is regularly reproduced in manuals of calligraphy as a standard example of the mature Tang style. For centuries students copied it character by character as the foundation of their training.

Another famous piece is the Duobao Pagoda Stele, written around 627 and named for a Buddhist pagoda whose construction it commemorates. Its strokes are lean and its structure unusually tight, and in later centuries it was regarded as one of the finest surviving specimens of his art. Difficult and uncompromising, it was recommended only to those who had already mastered the simpler models.

He also wrote the Huangfu Dan Stele and the Inscription on the Huadu Temple Pagoda, the latter carved in his old age and prized for a calm, tempered strength. Besides inscriptions he composed treatises on technique, among them a short discussion of the eight basic methods of setting the brush and a set of rules on the structure of characters. His collected writings and his commentaries on the classical texts were also valued by the scholars of his day.

== Technique and Aesthetic Ideas ==
Ouyang Xun approached calligraphy as a discipline of exact measurement, teaching that the position of every stroke must answer to the whole character just as a beam answers to the ridge of a roof. He argued that the brush should be held firmly and that the movement should come from the whole arm, so that the energy of the writer descends uninterrupted into the paper. His surviving precepts describe how to balance the left and right, where to place a dot, and how to open or close a structure.

A central idea of his method is the harmony of the dense and the sparse. He advised that a character must not be crowded on one side and empty on the other, and that the long horizontal and vertical strokes should set the framework on which the smaller strokes depend. This principle of structural tension gives his work its characteristic air of tightness and reserve.

He also insisted that technique serve clarity rather than display, and that the calligrapher should master many earlier styles before forming a personal manner. His severity of taste discouraged showy and flamboyant brushwork, and he held that steadiness and correctness mattered more than speed or flourish. These views helped to establish the sober classical standard against which later Tang writers measured themselves.

== Influence and Legacy ==
Together with his contemporaries Yu Shinan and Chu Suiliang, and with the later master Xue Ji, Ouyang Xun is counted among the four great calligraphers of the early Tang, and in some lists he stands first. His regular script was adopted as a model of correctness, and copybooks reproducing his characters circulated in every dynasty. Generations of officials and students, including those preparing for the imperial examinations, learned to write by imitating him.

His influence travelled far beyond China. The careful, square style he perfected was transmitted to Korea and Japan, where it shaped the formal scripts used in government documents, temple inscriptions and printed books. The tradition of studying Tang models that developed in East Asia owes much of its strength to the example of his inscriptions.

Modern calligraphers continue to study his steles, both as historical documents and as lessons in structure, and his work is preserved in museums and in the great stone collections of Xi'an. The endurance of his reputation rests on the fact that his characters, though severe, are never arbitrary: they embody a rational system of proportion that can be analysed, taught and passed on, and it is this teachable order that has kept his name alive for fourteen centuries.

== See also ==
* Yu Shinan
* Chu Suiliang
* Regular script
* Jiucheng Palace inscription

== References ==

<ref name="r1">Fu Shen and others, Traces of the Brush: Studies in Chinese Calligraphy, Yale University Press, 1977.</ref>
<ref name="r2">Amy McNair, The Upright Brush: Yan Zhenqing's Calligraphy and Song Literati Politics, University of Hawaii Press, 1998.</ref>
<ref name="r3">Zhongming Song, Ouyang Xun and the Formation of Tang Regular Script, Zhonghua Book Company, 2005.</ref>
<ref name="r4">Lothar Ledderose, Mi Fu and the Classical Tradition of Chinese Calligraphy, Princeton University Press, 1979.</ref>

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[[Category:Art]]
[[Category:Calligraphy]]
[[Category:Tang dynasty]]