Acceptance Research And Practical Thinking On Ouyang Tong’s Calligraphy

This article focuses on the historical acceptance of Ouyangtong’s calligraphy,combs the chain of Ouyangtong’s calligraphy acceptance,reveals the similarities and differences in the acceptance of Ouyangtong’s calligraphy by different calligraphers in different periods,and explores the reasons,so as to provide a useful reference for our calligraphy practice.The first part focuses on the acceptance of Ouyang Tong’s calligraphy in ancient times.Before the Tang to the mid-Qing period,the acceptance of Ouyang Tong’s calligraphy was gradually marginalized.In the middle of the Qing Dynasty,calligraphy declined,stele studies rose,and the concept of calligraphy changed drastically.With the discovery of the stele value of "Tao Yin Master Stele",Ouyang Tong’s calligraphy began to receive attention and admiration again.Outside the territory,the ancient Japanese scripture writing "Vajrasana Dharani Sutra" has the characteristics of Ouyang Tong’s calligraphy,which shows that some people in Japan at that time also accepted the study of Ouyang Tong’s calligraphy.The second chapter focuses on the acceptance of Ouyang Tong’s calligraphy in contemporary times.Calligraphy has entered the exhibition hall era in contemporary times,and exhibition has become the main way of calligraphy activities.In the national calligraphy and seal cutting exhibition held every four years,Tang Kai was cold,and the participation rate was extremely low.This harmed the integrity of the calligraphy ecology and violated the principle of "inclusiveness and inclusiveness".As Tang Kai’s calls for return increased year by year,In the 12 th National Calligraphy and Seal Cutting Exhibition in 2019,many works by Ouyang Tong from France were included in the exhibition,becoming the vanguard of Tang Kai’s return.In addition,in many other book fairs,regular script works taken from Ouyang Tong are also frequently exhibited,and the creation of regular script in Ouyang Tong style has become a current hot spot.The third chapter focuses on the empirical methods of calligraphy practice.In the contemporary era,the learning of calligraphy should be guided by reason and pay attention to the construction of calligraphy knowledge system in order to go further on the road of calligraphy.